LTTR Walkthrough with FRANK

Thursday 6.8, 19:00 LTTR walkthrough with FRANK. The exhibition Here We LTTR: 2002-2008 includes the group’s five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research will guide a series of walk-throughs in the exhibition.

FRANK is an Oslo-based platform run by the artists Liv Bugge and Sille Storihle since 2012. The event at Tensta konsthall takes as its starting point FRANK’s project Conversations, a series of dialogues and interviews distributed online.

Thursday 6.8, 19:00 LTTR walkthrough with FRANK. The exhibition Here We LTTR: 2002-2008 includes the group’s five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research will guide a series of walk-throughs in the exhibition.

FRANK is an Oslo-based platform run by the artists Liv Bugge and Sille Storihle since 2012. The event at Tensta konsthall takes as its starting point FRANK’s project Conversations, a series of dialogues and interviews distributed online. It continues the platform’s work on generating space for exchanges and discussions on the politics of art, gender, sexuality, and racialization. The first collection of Conversations, Growing Sideways: From Interview to Conversation, published in May 2015, marks art theorist Mathias Danbolt’s joining of FRANK. Conversations builds a bridge between Mathias Danbolt’s project Trikster–Nordic Queer Journal (2008-2010) and FRANK by presenting a selection of his previous interviews alongside unpublished and new dialogues. Trikster and LTTR were early inspirations to FRANK, with its aspiration to nurture a critical discourse on queer feminist art and politics.

The conversation between FRANK and Emily Roysdon, LTTR, will focus on the aspirations, conditions, shapes, and methods of working with art and politics from a feminist genderqueer perspective. The event will mark the meeting of three queer feminist production sites: LTTR journal (2002-), the Nordic journal Trikster (2008-2010), and FRANK Conversations (2015-). The conversation between Roysdon, Bugge, Danbolt, and Storihle will cover queer art and politics at different times in different geopolitical climates.

LTTR is a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in an annual journal, performance events, and video programs, among other things. LTTR catalyzed a vibrant queer community in formation through collaboration, organizing, explicit discourse, journal making, and distribution. The journal, half work of art, half political event, took on a new guise for each issue, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers. LTTR constantly created new dialogues and challenged given forms, including their own. The acronym LTTR was in constant motion and was to be read in a multitude of ways, including Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read, and Lacan Teaches To Repeat.

In the Spring of 2014, the four editors of LTTR’s fifth issue, Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller gathered around the archive. The groundbreaking and playfully rigorous work of LTTR will now be exhibited for the first time and activated at Tensta konsthall.

Summer Opening Hours

Wednesday–Sunday 12:00–17:00

Here We LTTR: 2002–2008

23.5–27.9 2015 LTTR is the name of a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in a series of performances, readings, and an annual journal, among other things. The journal, half work of art, half political event, took on a new guise for each number, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers.

23.5–27.9 2015 LTTR is a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in an annual journal, performance events, and video programs, among other things. LTTR catalyzed a vibrant queer community in formation through collaboration, organizing, explicit discourse, journal making, and distribution. The journal, half work of art, half political event, took on a new guise for each issue, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers. LTTR constantly created new dialogues and challenged given forms, including their own. The acronym LTTR was in constant motion and was to be read in a multitude of ways, including Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read, and Lacan Teaches To Repeat.

In the Spring of 2014, the four editors of LTTR’s fifth issue, Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller gathered around the archive. The groundbreaking and playfully rigorous work of LTTR will now be exhibited for the first time and activated at Tensta konsthall.

The exhibition Here We LTTR: 2002-2008 includes the group's five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research, will guide a series of walk-throughs in the exhibition. Artists Allison Smith and Matts Leiderstam, writer and asylum rights activist Trifa Shakely, researcher Ulla Manns, and theorist Julia Bryan Wilson are some of the invited presenters. In collaboration with Stockholm-based architect Sarah Brolund de Carvalho, LTTR designed an installation that also features two video programs curated by LTTR, as well as documentation of performance evenings and other events. Coinciding with the exhibition, the LTTR website has been redesigned in collaboration with Sara Kaaman, a designer based in Stockholm.

Emily Roysdon, artist, Konstfack professor and one of the magazine's four editors, writes in the preface to the first issue: We're here to reconstitute a new team under an old threat. To embrace our historical birth into feminist sexes and to move with the brilliant bodies, languages, identities and arts that this long walk has produced. But this lesbian we speak of I find him as ambiguous in nature as in verse. I find her over and over again."

In Roysdon’s poetical preface, queer identities emerge through the language. The lesbian can be found everywhere, and over again. A border-crossing approach that is characteristic for queer feminism, a feministic movement that is not so easy to define. Queer strategies often involve a critique of the definitions themselves and a rejection of traditional gender categories. To insist on identity and desire as ongoing processes, as becoming, is an approach that many queer feminists sympathize with. In similar ways, it is not the “being” but the “doing” that characterizes LTTR’s work: to switch on and put at risk, shift the meaning of meanings, and activate the reading body.

Guided tours by the staff at Tensta konsthall every Thursday and Saturday at 14:00.

MAY

Saturday 23.5, 12:00-17:00 Opening: Here We LTTR: 2002-2008. Day party with the feminist club collective Grupp 13.

Sunday 24.5, 14.00 Malin Arnell and Allison Smith

Malin Arnell (New York) is an artist and researcher who, in her practice, reflects on the concept of performativity. Through collaborations with other artists, activists, and writers, Arnell examines the meaning of notions like body, participation, presence, and action.

The artist Allison Smith (San Francisco) investigates the role of craft in relation to the construction of national identity and re-enactments of historical events. Smith's performative sculptures, installations, and participative projects have been exhibited in art venues worldwide. Smith contributed to the first issue of LTTR with at textile bookmark and to issue No. 3 with the text Notes on Trench Art.

Sunday 31.5, 14.00 Sofia Hultin and Berrin Erzurum

Sofia Hultin (Stockholm) is a performance artist with an interest in marginalized stories. Hultin’s lesbian city tour I'm Every Lesbian is a part of Tensta museum Continues and has been conducted in Malmö and Tirana, Albania, among other places.

Berrin Erzurum (Stockholm) collaborated with Sofia Hultin in the Tensta version of I'm Every Lesbian. Erzurum grew up in Tensta, writes poetry, and works as a janitor and gardener at a sports arena.

JUNE

Saturday 6.6, 14:00 Trifa Shakely and Matts Leiderstam

Trifa Shakely (Gothenburg) is a writer and lecturer with degrees in law and social work. She has previously been the editor of the feminist magazine Bang and is currently working with issues concerning domestic violence. Shakely initiated Ain't I a Woman, a campaign for the rights of undocumented migrant women.

Artist Matts Leiderstam (Stockholm) has a particular interest in the art museum as a site, the gaze, and the viewer. In several of his research-based projects, such as Grand Tour 1997-2007, Leiderstam copied and paraphrased existing works in order to suggest alternative interpretations. Through his installations, including paintings, books, and different objects such as magnifying glasses and binoculars, Leiderstam evokes hidden desires and queer leakages from Western art history.

AUGUST

Wednesday 5.8, 18:00 Film screening: Pauline Boudry and Renate Lorenz

Pauline Boudry (Berlin) and Renate Lorenz (Vienna) have been working as a duo since 1998. Their video installations focus on repressed or “unreadable” moments and portray individuals and groups who manage to live in conflict with the majority society, the law, and the neo-liberal economy. Boudry and Lorenz often collaborate with choreographers, artists, and musicians, giving a nod toward experimental film, the history of photography, and drag.

Thursday 6.8, 19:00 FRANK

FRANK is an Oslo-based platform run by the artists Liv Bugge and Sille Storihle since 2012. The event at Tensta konsthall takes as its starting point FRANK’s project Conversations, a series of dialogues and interviews distributed online. It continues the platform’s work on generating space for exchanges and discussions on the politics of art, gender, sexuality, and racialization.

The conversation between FRANK and Emily Roysdon, LTTR, will focus on the aspirations, conditions, shapes, and methods of working with art and politics from a feminist genderqueer perspective. The event will mark the meeting of three queer feminist production sites: LTTR journal (2002-), the Nordic journal Trikster (2008-2010), and FRANK Conversations (2015-). The conversation between Roysdon, Bugge, Danbolt, and Storihle will cover queer art and politics at different times in different geopolitical climates.

Wednesday 19.8, 19:00 Karina Sarkissova and Ofelia Jarl Ortega

Karina Sarkissova (Stockholm) studied at the School for New Dance Development in Amsterdam in 2012. She is interested in the political dimensions of choreography, in how to discuss and create the political in different rooms.

Ofelia Jarl Ortega (Stockholm) received a master’s degree in choreography from DOCH, the School of Dance and Circus in Stockholm. Her work deals with vulnerability and femininity. Ortega and Sarkissova met during a residency at the ImPulsTanz Festival in Vienna 2011.

MYCKET is a collaboration between designer Mariana Alves and the architects and artists Katarina Bonnevier and Thérèse Kristiansson. Together they seek to research and transform how aesthetic expressions affect human activities from intersectional perspectives, such as anti-racist and queer-feminist. Since its start in 2012, MYCKET has, among other projects, worked on their three-year research project The Club Scene, an architectural and artistic investigation of queer clubs, connected to the Architecture and Design Center, Stockholm.

Samuel Girma (Stockholm) works as an administrator and project manager at RFSL in Stockholm and describes himself as an LGBT activist with his heart in the suburb. Girma has previously worked with Cinema Queer and Tempo Documentary Festival.

Tuesday 15.9, 19:00 Ulla Manns and Dagmar Brunow

Ulla Manns (Stockholm) is an associate professor in the History of Ideas and professor in Gender Studies at Södertörn University. She is researching feminism in different times and places, cultural memory and historical silence. Manns is currently working on a monograph: The Cultural Memory of Nineteenth-Century Feminism: Futurity, Belonging, and Space.

Dagmar Brunow (Växjö/Stockholm) teaches Cinema Studies at Linnaeus University and Gender Studies at Södertörn University. She earned her PhD in 2014 at the University of Hamburg with a thesis on medial memory studies. Brunow's publications discuss memory and migration, feminist experimental film, and transnational filmmaking. She also initiated Ladyfest Hamburg (2003).

Julia Bryan-Wilson (Oakland) is an associate professor at the University of California, Berkely where she teaches Modern and Contemporary Art. She studies craft histories, visual arts, collaborative practices, and queer feminism after the Second World War. Bryan-Wilson is a critic whose work has been published in Art Forum and Frieze.

LTTR Walkthrough with Renate Lorenz

Wednesday 5.8, 18:00 LTTR Walkthrough with Renate Lorenz. The exhibition Here We LTTR: 2002-2008 includes the five issues of the journal produced by LTTR as well as photographs and other documentation of their social energy. Local and international guests connected to LTTR and to queer art, activism, and research will guide a series of walks through the exhibition.

Renate Lorenz (Vienna) has worked with Pauline Boudry (Berlin) as a duo since 2007. Their video installations focus on suppressed or illegible moments, and portray individuals and groups who manage to live in conflict with the majority of society, the law, and the neo-liberal economy.

Wednesday 5.8, 18:00 LTTR Walkthrough with Renate Lorenz. The exhibition Here We LTTR: 2002-2008 includes the five issues of the journal produced by LTTR as well as photographs and other documentation of their social energy. Local and international guests connected to LTTR and to queer art, activism, and research will guide a series of walks through the exhibition.

Renate Lorenz (Vienna) has worked with Pauline Boudry (Berlin) as a duo since 2007. Their video installations focus on suppressed or illegible moments, and portray individuals and groups who manage to live in conflict with the majority of society, the law, and the neo-liberal economy. Boudry and Lorenz often collaborate with choreographers, artists, and musicians in a gesture toward experimental film, the history of photography and drag.

During the evening, four films by Lorenz and Boudry will be screened, following a presentation by Lorenz.

Opaque, 10 minutes, 2014. The duo's most recent film features two ambiguously gendered figures moving through an abandoned swimming pool. Enveloped in pink and blue smoke, leather and rhinestones, their bodies are blurred, their identities hidden–an opacity that leaves them at once safe and at risk.

To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation, 18 minutes, 2013. In this film, six performers interpret a score inspired by Solanas' SCUM Manifesto composed by Pauline Oliveros in 1970. The performers repeat and imitate each other as they circulate tones amongst them; destabilising the boundaries between the individual and the collective, asking what it means to listen and to sound, positing abstraction against hierarchies.

Toxic, 13 minutes, 2012.A punk and a drag queen make their way through glitter and toxic plants, violet curtains and images of masked protestors. From heroin through radioactivity to AndroGel®, in this film, toxins emerge as both poison and cure, forging relations between the queer, the othered, and the toxic.

No future / No Past, two Super 16mm films, 15 min and 15 min, 2011.Here, four musicians (Ginger Brooks Takahashi/”Men”; Fruity Franky/”Lesbians on Ecstasy”; G. Rizo; Olivia Anna Livki), and a choreographer (Werner Hirsch) revisit the riotous spirit of the 1970s by impersonating some of the punk movement's iconic musicians. To near-ridiculous effect, the performance reflects on the punk call for 'no future', and our paradoxical position in this very future that denounces its punk past.

LTTR is a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in an annual journal, performance events, and video programs, among other things. LTTR catalyzed a vibrant queer community in formation through collaboration, organizing, explicit discourse, journal making, and distribution. The journal, half work of art, half political event, took on a new guise for each issue, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers. LTTR constantly created new dialogues and challenged given forms, including their own. The acronym LTTR was in constant motion and was to be read in a multitude of ways, including Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read, and Lacan Teaches To Repeat.

In the Spring of 2014, the four editors of LTTR’s fifth issue, Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller gathered around the archive. The groundbreaking and playfully rigorous work of LTTR will now be exhibited for the first time and activated at Tensta konsthall.

Tensta Museum Continues 2015

17.6–4.10 2015 Tensta Museum Continues follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden, about history and memory in Tensta. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches during the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the suburbs’ own museum now continues as an integrated part of Tensta konsthall.

17.6–4.10 2015 Tensta Museum Continues follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden, about history and memory in Tensta. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches during the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the suburbs’ own museum now continues as an integrated part of Tensta konsthall.

On view in the entrance of the konsthall is the Tensta-based artist Mats Adelstam’s exhibition, What the Trees See. In sculptures, paintings and found objects Adelstam explores the meeting between the constructed Million Program milieu and wild nature of the Järva field. In the small exhibition space the museum takes the form of a classroom. Here SFI Västerort’s summer courses and Tensta konsthall’s own Swedish Arabic language cafe will take place. The classroom tables, previously used in the exhibition The Paths to the Common(s) Are Infinite by Ayreen Anastas and Rene Gabri, are designed by the artists and made exclusively from organic material, entirely without nails and screws.

On the notice boards visitors are invited to take a part of a material, including maps of Tensta, photo documentation from Helga Henschen’s subway art (which this year celebrates its 40th anniversary), on-going projects by participants of Tensta konsthall’s new project The News Agency, and the artist Lawrence Abu Hamdan’s work Motstridiga fonem. The reading corner accommodates the Silent University's reference library, and at the Tensta Library the author Mekonen Tekeste’s self-illustrated stories about Eritrea, written during his exile in Stockholm and Tensta, is on view.

The Classroom space also features the video Porto 1975, in which the artist Filipa César brings us to the late modernist housing project Bouça in Porto. The video is a continuation of Tensta Museum’s focus on art projects from the 1990s and onwards, and undertakes the late-modernist residential areas of the world. The short film Rehearsals, made for SVT and filmed by Marius Dybwad Brandrud, is a collective work that comes out of a project about the politics of listening, initiated by the artist Petra Bauer and political scientist Sofia Wiberg. The film was made in collaboration with Women’s Center in Tensta-Hjsluta, as part of Tensta museum: Reports from New Sweden. The ingenious Tensta Cabinet features material from projects and exhibitions made in recent years by the artists Nina Svensson and Bernd Krauss in collaboration with Tensta konsthall. The online platform Space presents the radio program SR Urbania in which the rapper Adam Tensta resides in a future Tensta. An interview with Fanna Ndow Norrby, founder of the Instagram account Black Woman, brings the listener to a near future in which direct democracy has been realized and the selective school system abolished. In the year 2030 everybody wants to live in the progressive Tensta.

A series of activities, including art camps for children and teenagers, as well as guided tours through Tensta’s art and literature history, will be organized on the premises of Tensta Museum. Every Wednesday through Friday, the porch of Tensta konsthall will be transformed into an open lace and embroidery workshop and people interested in literature are invited to take part in a queer book club. Also new this summer is a local shop in the entrance, where jewellery, jams, and marmalades made by the Women's Center Tensta-Hjulsta are for sale.

What the Trees See by Mats AdelmanThe meeting between the Million Program area and ancient agricultural lands is at the core of Adelman’s exhibition What the Trees See. From his studio in Eggeby Gård the artist overlooks the Järva field’s flora and fauna and can see the movement patterns of the animals that live in the outskirts of the big city. A diverse world is constructed through drawings, paintings, and sculptures in the entrance of the konsthall. There is a chair with three carved wooden owls as it's backrest and a small tree in which a european roller, a middle spotted woodpecker, and a boreal owl resides. Adelman’s work is built up by ambiguous symbols. His dramatic perspectives generate cinematic and suggestive images. Abandoned shacks haunted by birds of prey and owls are constantly reoccurring elements in post-apocalyptic Adelman Land. The exhibition is on view at three locations: Kista library features (17.6–30.8) Adelman’s Super-8 films of extraordinary wildlife events, and Eggeby Gård at the Järva field (17.6–27.9) exhibits a selection of Adelman’s sculptures and photographs on the second floor of the main building. Workshops with the artist will be arranged during the summer in conjunction with the exhibition.

Friday 31.7, 13:00–16:00 and Thursday 6.8, 13:00–16:00 Drawing at the Järva field with Mats AdelmanCome along on an art excursion to the Järva field with the artist Mats Adelman. We will walk into the nature with pens and paper to practice drawing animals, plants, and landscapes. Info and registration: maja@tenstakonsthall.se. Participants will gather at Tensta konsthall. Ages 9–14.

Space: SR Urbania

17.6–4.10 2015 SR Urbania 94.4 is a radio program by the rapper Adam Taal, also known as Adam Tensta. The future is already here in SR Urbania. It is the year of 2030 and Tensta is no longer situated at the outskirts of the subway map. Space is Tensta Konsthall´s curatorial platform online. Push main to the right to listen.

17.6–4.10 2015 SR Urbania 94.4 is a radio program by the rapper Adam Taal, also known as Adam Tensta. The future is already here in SR Urbania. It is the year of 2030 and Tensta is no longer situated at the outskirts of the subway map. Space is Tensta Konsthall´s curatorial platform online. Push main to the right to listen.

New stations have been added and more Million Program areas have been built. There are still traces from the car fires and youth revolts of the 2010s, but the common view of Tensta is still radically different. This is largely because of the renowned Tensta model—a social effort that involves direct democracy, reorganisation of the curriculum, gender quotas, school classes and abolishment of the selective school system. “The schools of Tensta are for the youth and children of Tensta,” says the invited guest Fanna Ndow Norrby. In 2030 Ndow Norrby initiated the pedagogical effort Vi i Skolan. In 2014 she founded the Instagram account Svart Kvinna (Black Woman), highly acclaimed for sharing knowledge and stories about black women’s experiences of racism.

SR Urbania is simultaneously a utopian scenario and a sharp social satire. In the year of 2030 the city-centre parents are queuing to put their children in Tensta’s schools and the apartments in the borough are coveted by everyone. E-mails are sent to the radio program with questions like: “I have heard so many positive things about Tensta. I live in Hornstull today—how can I move to Tensta?”The premiere program of SR Urbania was made during Haunted by Shadows of the Future: HORIZONS—a speculative vision of Tensta to which four people with different backgrounds and different relationships to the area contributed with (im)possible futures for Tensta 2030. Haunted by the Shadows of the Future: HORIZONS is a collaboration in the context of Tensta Museum: Reports from New Sweden at Tensta konsthall and the Urban Re-Mix course at the Royal Institute of Art (KKH) in Stockholm. It has been conceived by STEALTH.unlimited and Peter Lang, curator and professor in Architecture Theory and History, at Mejan Arc KKH.

Adam Taal is a rapper and music producer based in Tensta. Taal contributed an atmospheric beat to the Tensta Museum: Reports from New Sweden’s exhibition space.www.tenstakonsthall.se/space

Guided tour at Eggeby Gård

Wednesday, 13.8, 15:00 Welcome to a guided tour of “the farm by the oaks,” located on the vast Järva field. The farm’s history dates back to the Viking age (A.D. 793–1066) and it has been mentioned in sources from as early as the 1300s, then under the name Ikkeby (Ekeby). The farm has over the years functioned as a meeting place for all sorts of activities. Once it was the Spånga church rectory; today the properties are owned by the city of StockholmGui and rented by Järva Folkets Park.

Wednesday, 13.8, 15:00 Welcome to a guided tour of “the farm by the oaks,” located on the vast Järva field. The farm’s history dates back to the Viking age (A.D. 793–1066) and it has been mentioned in sources from as early as the 1300s, then under the name Ikkeby (Ekeby). The farm has over the years functioned as a meeting place for all sorts of activities. Once it was the Spånga church rectory; today the properties are owned by the city of Stockholm and rented by Järva Folkets Park. There are horses, three dovecotes, beehives, a theatre barn, a small sculpture park, and artists’ studios (where Mats Adelman works, among others). The Café Grönlingen is located in the main building, named after the endangered fish species grönlingen that live in the Igelbäcken that runs north of the farm. Gathering at Tensta konsthall.
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Walk to Hästa Gård (Hästa farm)

Thursday 20.8, 15:00 Walk to Hästa Gård (Hästa farm) with Lars Heins. Hästa Gård is a farm located at the Järva field that has been used since the Viking Age. Today it is Stockholm’s only remaining agriculture as well as one of the world’s largest urban farm. As part of Tensta Museum Continues. Meet at Tensta konsthall.

Thursday 20.8, 15:00 Walk to Hästa Gård (Hästa farm) with Lars Heins. Hästa Gård is a farm located at the Järva field that has been used since the Viking Age. Today it is Stockholm’s only remaining agriculture as well as one of the world’s largest urban farm. As part of Tensta Museum Continues. Meet at Tensta konsthall.

Katitzi: A Literary Character Rooted in Reality on tour

27.6–18.10 2015 Exhibition at Almedalsbiblioteket in Visby. Katitzi: A Literary Character Rooted in Reality, which was shown at Tensta konsthall 2012, is now back as a traveling exhibition.

27.6–18.10 2015 Exhibition at Almedalsbiblioteket in Visby. Katitzi: A Literary Character Rooted in Reality, which was shown at Tensta konsthall 2012, is now back as a traveling exhibition.

The tour starts at Gotland in Visby, where Katarina Taikon’s books about Kaitizi were written. The exhibition opened during Almedalsveckan and is shown at Almedalsbiblioteket. Presented by Svensk Biblioteksförening in collaboration with Kulturbyrån.

The subject of the exhibition is Katarina Taikon’s (1932-1995) autobiographical figure Katitzi, who is the main character in thirteen books and eight comic albums published between 1969 and 1982. The exhibition includes first editions of the Katitzi books, comic albums, illustrations by Björn Hedlund, as well as articles, reviews, films, TV programmes, photographs, etc. The exhibition highlights and discusses a unique young female character from the world of children’s and young people’s literature whose Romani background is central to the story. Katitzi manages, despite pretty dreadful circumstances, to find her way to an acceptable existence and, in time, to self-realization.

Headless

What do a fishy offshore company, secret artists, a ghost writer and French philosophy have in common? No connections are inconceivable in the recently published thriller Headless. The novel is published by Tensta konsthall, Triple Canopy (New York) and Sternberg Press (Berlin) and forms the final phase in a nine year-long performance on state sovereignty, surveillance and strategies for withdrawal, initiated by the artist duo Goldin+Senneby.

What do a fishy offshore company, secret artists, a ghost writer and French philosophy have in common? No connections are inconceivable in the recently published thriller Headless. The novel is published by Tensta konsthall, Triple Canopy (New York) and Sternberg Press (Berlin) and forms the final phase in a nine year-long performance on state sovereignty, surveillance and strategies for withdrawal, initiated by the artist duo Goldin+Senneby.

Headless captures the reader with a delirious flight through the slippery corridors of offshore business, seen through the eyes of the British ghost writer, John Barlow. He goes out to find an elitist, Bataille-inspired secret society in the Bahamas/…/, obsessed with sacrifices. The society seems capable of anything in order to retain its power and position.

Clandestine money transfers to exotic islands is a highly debated phenomenon. Terms like "tax havens" and "offshore" are also widely known, both connoting faraway dreamy places in tropical settings. A utopia for savvy swindlers. But what if this model of thought is instead applied to a different kind of island life, picturing withdrawal as a strategy. This is something the philosopher and writer Georges Bataille suggested already in the 1930s.

The Swedish release of Headless took place at a secret location in Stockholm on the 20th of May. The release included a conversation between Mara Lee, author of e g. the novel, Future Perfect and the thesis, När andra skriver (2014) and Rasmus Fleischer, historian and researcher (Stockholm University), appearing as one of the characters in Headless. The conversation was moderated by Maria Lind, director of Tensta konsthall.

Headless is a sneak peak of Goldin+Senneby's retrospective at Tensta konsthall, scheduled for February–May 2016.

Art Camp

During school breaks Tensta konsthall arranges art camps for children and teenagers, 10–19 years old under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice.

During school breaksTensta konsthall arranges art camps for children and teenagers, 10-19 years old. We offer participants a one-week daytime camp under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice. On the final day the public is invited to see and experience the works made during the week.

10.8–14.8 2015Painting and PortraitsWith Filippa Arrias (The Royal Institute of Arts)Age: 15–22 years

In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an exhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.

To register and for more info, contact emily@tenstakonsthall.se or 08-36 07 63.

Tensta konsthall in collaboration with KTH School of Architecture and the Architect Stefan Petersson will for the forth year in a row arrange a hut building camp in Järvafältet. Behind the allotments and across the meadow, one finds the clearing that will be the workspace of the week. The participants are guided in how to best design and construct their huts. The materials used are all things that can be found in nature, such as undergrowth, twigs, and leaves. The last day of camp friends and family are invited to visit the village of huts that has emerged during the week.

To register and for more info, contact emily@tenstakonsthall.se or 08-36 07 63.

7.4–10.4 2015Fanzine workshopWith Maryam FanniAge 14–22 years

During the Easter holiday’s art camp, participants of the camp will be able to explore the process of creating books, newspapers, magazines, brochures, posters, flyers, and fanzines as well as learning more about these media. The art camp is led by graphic designer Maryam Fanni. During the week, the participants will learn about the various functions of printed matter and about what sort of tools and resources are necessary to produce it. They will try different methods of creating printed matter and will go on a visit to a printing company. This art camp is a part of Nyhetsbyrån.

Nyhetsbyrån is a long-term project for youths from ages 18 to 25 who are interested in journalism and story-telling. The course is financially supported by Allmänna Arvsfonden and is done in collaboration with Konstfack, JMK Stockholms university and StreetGäris.

To register and for more info, contact hedvig@tenstakonsthall.se or 08-36 07 63.

This winter holiday’s art camp is led by the architect and designer Sergio Montero Bravo. During the week, the participants will build models in wood, cardboard, and plaster. The mission is to create the school of the future; how does it look in our dreams? What color and shape are the rooms? The results from the art camp will be displayed in an exhibition at Konstfack. For ages 10­–13.

4.12 2014–11.1 2015 The results of this year's art camps are presented at Stockholm City Museum and include Comics and Superheroes from New Sweden, Housing for Wild Bees, Figure Drawing, and Utopia Camp. Art Camp is held at Tensta konsthall over school holidays. It is led by professional artists, designers, and architects, often in collaboration with art schools in Stockholm.

28.10–31.10 2014Figure Drawing with GerleborgsskolanAge: 14–19 years

During the week the participants will experience what it is like to go to an art school, with focus on drawing and painting by model. Based on a classic model lineup, the participants study colour, form, perspective, light and shadow.

Once again, it's time for Filippa Arrias popular art camp on paintings and portraits. This time, focusing on slightly older participants. Tensta Konsthall exhibition space becomes a temporary studio where the participants will learn about painting and portraiture. Through colour mixing, brush techniques, and composition the participants will be trained in the fundamental questions and possibilities of painting - from sketch to finished picture. The week ends with a small exhibition for family, friends and acquaintances.

1.7–4.7 2014Housing for Wild Bees With Erik Sjödin Age: 10–100 years

During four days of summer we will build homes for wild pollinators, such as solitary bees and leaf-cutter bees. Adjacent to the dwellings, plants that wild bees like will be planted. The housing will be built from wood and materials that can be found in the neighbourhood, such as old logs, reeds, and raspberry bars. In the coming years, one will be able to observe wild bees and other insects moving into the homes built for them. During the week, we will learn about animals and plants and how people depend on them as well as they depend on us. Both adults and children are welcome to attend. The art camp takes place on Eggeby Farm and is a collaboration between artist Erik Sjödin, Tensta Konsthall, Eggeby Farm Nature School and the Bachelor's program in Interior Architecture and Furniture Design at Konstfack.

Erik Sjödin has previously worked with honeybees and wild pollinators in a project that among others involve researchers at the Swedish University of Agricultural Sciences, the Swedish Society for Nature Conservation, and The Swedish Museum of Natural History.

16.6–18.6 2014Hut Building With Stefan Petersson (KTH School of Architecture) Age: 10–13 years

For the third year in a row, it's time for hut building camp with Tensta Konsthall and KTH School of Architecture. On a still unexplored spot of Järvafältet, the young participants will learn how to sketch and construct huts. The material consists of things that one can find in nature: saplings, twigs and foliage. During the last day of the camp friends and acquaintances are invited to visit the little village of huts that has emerged during the week.

14.4–17.4 Easter Holidays Utopia Camp with Tina Carlsson and students from the Department of Visual Arts Education (Konstfack) Age: 12–15 years

Can we build new worlds by making art? During the week, we talk about the word utopia: what could it mean and how can it be framed? The ideas are put into practice in a workshop, and the group tests, researches, and dreams together. With all sorts of materials such as cardboard, audio, paper, pens, and candy, students build models, stories, and pictures. Every day, new assignments are handed out. Only imagination sets the limit. No experience required.

This is an opportunity to draw and learn more about comics. Through workshops and tutorials you will learn how to create your own draft and stories. You also get acquainted with some of the most-read series creators from around the world. The workshop is led by animator and children's book author Karin Ahlin and Hanna Gustavsson who just published her first comic book, "Nattbarn" (Night kids), a story about what it's like to be young. We visit art school Konstfack where we meet cartoonists and illustrators. We also visit Galago, the largest series publisher of alternative comics.

28.10–1.11 2013Comics and superheroes from New Sweden With Joanna Rubin Dranger, cartoonist and professor of illustration (Konstfack)Age: 13–19 years

This is an opportunity to draw and learn more about comics. Through workshops and tutorials you will learn how to create your own draft and stories. You also get acquainted with some of the most-read series creators from around the world like Art Spiegelman, Marjane Satrapi and Joe Sacco. We visit Konstfack and meet cartoonists, like Hanna Gustavsson who just published her first comic book, "Nattbarn" (Night kids), a story about what it's like to be young. We also visit Galago, the largest series publisher of alternative comics. You do not have to know how to draw to participate.

5.8–9.8 2013Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 10-16 years

In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta Konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories.

24.6–28.6 2013Hut building With Stefan Petersson (KTH School of Architecture) Age: 10-13 years

Tensta konsthall in collaboration with KTH School of Architecture and the Architect Stefan Petersson will for the second year in a row arrange a hut building camp in Järvafältet. Behind the allotments and across the meadow, one finds the clearing that will be the workspace of the week. The participants are guided in how to best design and construct their huts. The materials used are all things that can be found in nature, such as undergrowth, twigs, and leaves. The last day of camp friends and family are invited to visit the village of huts that has emerged during the week.

During four summer days, the unexpected combination of art and racing trot will be examined by a group of young participants. Along with the artists Nina Svensson and Bernd Krauss they will go to Solvalla racing stadium to try out horse racing and to get to know the world of racing trot. The participants account for their experience through photography, notes, and pictures. No previous knowledge of art or racing trot is required to participate, though a certain level of experience with handling horses is an asset.

Past–25.2–1.3 2013 Tensta Photo Club With Katarina Lundgren For girls age: 14–18 years

Tensta Photo Club is for girls interested in creating images and photography. During the winter break, participants will work with photography, both technically and artistically. The group will learn how photos can tell stories and how a story can be depicted in widely different ways. Tensta as a place is the starting point for the week’s expeditions and investigations.

Katarina Lundgren is an artist based in Stockholm. Her work revolves around story-telling and creating myths, and representation and presentation. In recent years, the point of departure of many of her works has been some form of contemporary phenomenon–a question or an occurrence, something unexamined or taken for granted. The process begins in exhaustive research and the piece takes shape through various techniques such as video, photography, or text. Lundgren is interested in the construction of narrative in relation to concepts such as facts, fiction, time, and history. In her video and photo-based work, a subjective narrative is mixed with a documentary eye. Often a small change in an otherwise general situation is what distinguishes the motif. Lundgren’s previous works have dealt with, for example, research on happiness, subjective well-being and our notions of happiness, or ethnic and social identity investigated through the way in which third- or fourth-generation Swedish-Americans express and relate to their Swedish heritage.

Past—2.1–4.1 2013 Book Art With Hans Carlsson Age: 14–19 years

Do you like books? Do you want to get to know authors and artists who have experimented with text at different times and in different places? During our holiday art camp you will have the opportunity to create a book. We will read poetry and look at art to discover how letters can be images and vice versa. We will search, find and borrow from the library, newspapers and the internet. We will cut and paste and learn simple book binding techniques. By the end of the art camp everyone will have made their own publication. Maybe your book will be about you and your family? Or about a politician or an idol? Or about Tensta? You decide.

“Alter ego” means a second self. This is your opportunity to create an alternative self who can do what you don’t dare to do. Many artists have one—for example, David Bowie and his Ziggy Stardust, Eminem with his Slim Shady. During the week we will develop our new selves and test out what they can do. Maybe you’ve always wanted to drill things, then you can create a fix-it person; if you’ve yearned to be a decision-maker, then you can be a director; if you’ve always wanted to sing, you can become Rihanna. Everything is possible this week—take a break from your usual you and create a new one. We’ll be carving out our new egos through writing, drawing, styling clothes for them and carrying out performances and actions.

Past—6.8–10.8 2012 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 13–16 years

We will make portraits with brushes and paint. How do you mix paint and how can the brush be used? We will train ourselves to make choices about what to keep in our images, but also what to take away. Each day we begin with a new portrait—it can represent someone you know, someone important, a family member or a place. All together they tell a story about ourselves.

Past—25.6-29.6 2012 Hut building With Stefan Petersson (KTH School of Architecture) Age: 10-12 years

Let us go to Järvafältet and build little houses! In the middle of nature, we will use the material that we find there: branches, twigs and foliage. We will get to know the field and use it as our workplace and that’s where we’ll talk about architecture, nature and freedom to roam/everyman’s right. We will measure, sketch and design, make clever knots and become experts in hut construction.

Throughout the week we will discover and explore Tensta’s public spaces. We will examine how to activate different locations, often very literally with the body through Parkour, but also with gardening. This art camp is intergenerational, anyone 10 years or older is welcome.

Do you like theater and drama? For one week we will occupy the small theater space at Blå huset in Tensta. This will be a place for experiments, improvisations and vocal exercises. Our bodies and voices are our most important tools. We will improvise plays with the guidance of a professional actor based on our own experiences, stories and imagination. We will learn how to produce a theater play and visit backstage at Dramaten. At the end of the week we will perform together, in front of an audience.

For a week we will explore how to combine art with sports. Can we make a dance out of boxing, a song out of swimming or an image out of acrobatics? Sports can create team spirit and sisterhood and art can give us freedom to break the rules. It doesn’t matter if you are interested in sports or not, bring comfortable clothes and join us as we rethink sports in our very own way!

Let’s build noise. What sounds are we able to produce? Rumbles of thunder, cannons and whistles. A choppy sound, a flipping sound, and bowling sound. Together we will construct machines of noise using timber, cardboard, strings, metal and various materials. We will challenge the very idea of what constitutes sound and what constitutes noise. The final day of the art camp will be celebrated with a spectacular concert of noise! Assistant: Alladin Babeker.

Queer book club with Maja Andreasson

Thursday 23.7, 15:00 Queer book club with Maja Andreasson. Poetry is full of wistful glances, violet dusks, and lesbian desires. In the world of fiction Orlando sweeps through the centuries and beyond curtains as someone shoots a flower into her lover’s mouth. Together with Tensta konsthall’s Maja Andreasson, a book club will take place during three summer Thursdays. Building on the exhibition Here We LTTR: 2002–2008, three books of fiction with queer themes have been selected for close reading. The meetings will take place at the Tensta konsthall’s porch.

Thursday 23.7, 15:00 Queer book club with Maja Andreasson. Poetry is full of wistful glances, violet dusks, and lesbian desires. In the world of fiction Orlando sweeps through the centuries and beyond curtains as someone shoots a flower into her lover’s mouth. Together with Tensta konsthall’s Maja Andreasson, a book club will take place during three summer Thursdays. Building on the exhibition Here We LTTR: 2002–2008, three books of fiction with queer themes have been selected for close reading. The meetings will take place at the Tensta konsthall’s porch.

de:tune Järva

Ongoing The artist and composer Tarek Atoui work with the music genre, Tarab, and other classical Arabian music. It has a very sparsely documented history which Atoui, trained in electro-acoustic music and sound art, has delved into over several years. In Tensta he creates, over a period of six months, a kind of living archive together with local musicians and people interested in music. It becomes a bank of experience, whose constant changes and elaborations take place through encounters, listening together, improvisational concerts and conversations about music. All this ends up in various pieces of music that can be heard in the gallery café and concerts at Stockholm Music & Arts and Tensta Market. The participants' various musical traditions become an expression of Järva’s diverse musical identity.

Ongoing The artist and composer Tarek Atoui work with the music genre, Tarab, and other classical Arabian music. It has a very sparsely documented history which Atoui, trained in electro-acoustic music and sound art, has delved into over several years. In Tensta he creates, over a period of six months, a kind of living archive together with local musicians and people interested in music. It becomes a bank of experience, whose constant changes and elaborations take place through encounters, listening together, improvisational concerts and conversations about music. All this ends up in various pieces of music that can be heard in the gallery café and concerts at Stockholm Music & Arts and Tensta Market. The participants' various musical traditions become an expression of Järva’s diverse musical identity.

The core of Tarek Atoui’s work is an ongoing reflection on the instrument as an idea and of the performative act as a complex, open, and dynamic process. He builds new instruments and invites groups of professional musicians to take on music that is unknown to them and then create new music based on it; he has for example worked with deaf children and observed Arabic music’s unwritten history. Atoui is an artist, composer, and musician from Beirut who prefers a collective approach and testing restrictive practice opportunities in performance, composition, and improvisation. He has extensive experience in initiating and managing artistic innovation and workable common processes, among others at the art exhibition Documenta in Kassel in the summer of 2012 and at the biennial in Sharjah the next year.

The music presented in Stockholm is the result of a process where a group of twenty people associated with the Järva area create the basis for a new piece of music through constant change and refinement of already existing music of their choice. The project started in April when posters were put up in the Järva area inviting musicians to an open meeting at Tensta Konsthall.

After the audition process a new group of musicians was created, playing everything from jazz, hip hop, and afrobeat to reggae, folk, and soul. All of the musicians carry a curiosity and willingness to test their limits in a project whose foundation is in improvisation and experimental music. In May they started recording new material in the EMS studio 2. The newly recorded music is shared among the group's members for reinterpretations and remixes. The final step in the creative process is that all the new versions of the music are collected. From this Atoui creates a new whole in which improvisation has a natural role to play, and together they perform the piece of music on stage.

The playlist was made by Jonas Kronman, 39, who grew up in Tensta. Jonas works with music in geriatric care. He joined de:tune Järva because of his desire to challenge himself and his broad interest in music, something that is clearly demonstrated in his playlist. “My playlist consists of African American music, Romani, Balkan, reggae, Finnish tango, Swedish ballads, Latin, etc. I love music partly because it creates the possibility of meetings.” Jonas Kronman is an active member of the music project detune: Järva, a project where musicians linked to the Järva area explore the district’s musical identity. Led by the artist and musician Tarek Atoui.

James Barrett is an Australian sound artist, poet, academic and writer living in Stockholm, Sweden. He is completing a PhD in digitally mediated narrative in the Department of Language Studies at Umeå University. James plays didgeridoo, sitar, different hand drums, jaw harp, mouthorgan, guitar and various flutes. He has released CDs and individual sound pieces on labels in Australia, the United States and in Ukraine. More of his story and downloads of his music can be accessed from here: http://about.me/James.G.Barrett

Tensta konsthall wins Stockholm Prize 2014

Tensta konsthall has been awarded Nöjesguiden’s Stockholm Price 2014 in the category of Art.

Tensta konsthall has been awarded Nöjesguiden’s Stockholm Price 2014 in the category of Art.

The jury’s explanation:

"While other art galleries and museums were stagnating, Tensta konsthall took the lead and ran toward the future. And we are with them. With exhibitions that stretched borders and freed our minds, our periphery became our center. With its city tours, the annunciation of Maria, and Stockholm Music & Arts, Tensta konsthall was so much more than just a space. It became a magnificent idea that was everywhere, where we felt completely at home."

Tensta konsthall Text Prize

For the second year in a row Tensta konsthall is presenting a text prize for young people in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. The jury is comprised of the August Prize winner Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.

For the second year in a row Tensta konsthall is presenting a text prize for young people, year 15–25, in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. The jury is comprised of the August Prize winner Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.

The 2015 winners are Marianne Al-Ghorabi with the text I am a Tensta-cat; Evyn Redar with The place where I live / Our history; and Arazo Arif with If the place where I live is the world than who am I.

The winners will receive 3000, 2000, and 1000 Swedish krona.

This year Lema Shansab is awarded an honorable mention for her honest story about the absurdity of religious oppression and the experience of being delimited by gender and faith.

To read the texts, visit the bag section on this web page. Click bag in the top right corner, check the box, and click "save bag" in order to download.

The jury’s motivation:

First Prize: Marianne Al-Ghorabi I am a Tensta-cat

In a wayward and imaginative view of Tensta as seen through the eyes of a familiar stranger, Marianne Al-Ghorabi allows the reader to access different spaces in the city and the borough through the unsentimental and nonjudgmental eyes of a cat. This exceptional and scrutinizing story is guided by humor and precision.

Second prize: Evyn Redar The place where I live/Our History

This story offers delicately observed situations and substantial snapshots of young people's lives in a particular location, all depicted with both warm sincerity and cold aloofness. A rhythmic language allows the reader to enter into Evyn Redar's fictional world for a moment, where powerful images of friendship and betrayal, joy and boredom, and hope and hopelessness are evoked.

Third prize: Arazo Arif If the place where I live is the world then who am I

With strong, formal poetry and profound reflections, Arazo Arif takes the reader into a world of language where nothing really exists outside of its wording. Here, well-pitched metaphors reveal a complex reality that becomes obvious only when it is spoken.

Honorable mention: Lema Shansab An honest and naked story about the absurdity of religious oppression and what it's like to be defined by your gender and faith. With minor stylistic actions, Lema Shansab conveys the homelessness that intolerance entails. She evokes a painful desperation through a child's inquiry, which is softened only by the relationship with a beloved grandfather.

Art and the F Word: Reflections on the Browning of Europe

Focusing on the alarming spread of fascism in Europe, the various contributions in the book Art and the F Word: Reflections on the Browning of Europe indicate the power of art to imagine futures beyond the present situation and what can be perceived as irrevocable. Contributions from the cultural critic Boris Buden, the curators Jelena Vesic and Barnabas Benczik, and the artists Lawrence Abu Hamdan and Petra Bauer create and formulate resilient and constructive possibilities for artistic and social work. The language of politics and philosophy are examined, but also populistic tendencies, social contexts, media, science, and aesthetics.

Focusing on the alarming spread of fascism in Europe, the various contributions in the book Art and the F Word: Reflections on the Browning of Europe indicate the power of art to imagine futures beyond the present situation and what can be perceived as irrevocable. Contributions from the cultural critic Boris Buden, the curators Jelena Vesic and Barnabas Benczik, and the artists Lawrence Abu Hamdan and Petra Bauer create and formulate resilient and constructive possibilities for artistic and social work. The language of politics and philosophy are examined, but also populistic tendencies, social contexts, media, science, and aesthetics.

The exhibitions presented in the book, including Tensta Museum: Reports from New Sweden, examine the potential of the aesthetic experience to question reality. Art and The F Word: Reflections on the Browning of Europe is compiled by Maria Lind, Director of Tensta konsthall and the collective What, How & for Whom / WHW (Zagreb). Design: Metahaven.

Sunday 16.11, 13:30 Book Release Art and the F Word: Reflections on the Browning of Europe.

The Silent University: Language Café

Sundays 13:00–16:00 Every sunday afternoon a Language Café led by Fahyma Alnablsi will be arranged. The Language Café welcomes those who wish to learn the basics of the Swedish and arabic language, meet new friends and share experiences and ideas. Especially welcome are those students who are currently outside the Swedish education system while awaiting asylum. During the meetings we will practice grammar, socialize, read simple books and do conversational exercises. For registration and information please contact fahyma@tenstakonsthall.se

Sundays 13:00–16:00 Every sunday afternoon a Language Café led by Fahyma Alnablsi will be arranged. The Language Café welcomes those who wish to learn the basics of the Swedisha and arabic language, meet new friends and share experiences and ideas. Especially welcome are those students who are currently outside the Swedish education system while awaiting asylum. During the meetings we will practice grammar, socialize, read simple books and do conversational exercises. For registration and information please contact fahyma@tenstakonsthall.se

The Language Café is a part of The Silent University, an autonomous knowledge platform for asylum seekers, refugees and undocumented immigrants, initiated by the artist Ahmet Ögüt. www.thesilentuniversity.org

Tours

Guided tours every Thursday and Saturday at 14:00.

Guided tours every Thursday and Saturday at 14:00.

We do custom tours for elementary school to high school aged groups. Pre-booked tours during the day for schools are free. The tour takes about 50 minutes.Tensta konthall offers guided tours of current exhibitions for large groups such as arts organizations, businesses or private groups. Tours are offered in Swedish and English. Cost is 2000 SEK + voluntary entrance donation. Length is about 50 minutes and maximum number of participants is 30.

In conjunction with tours our Café can offer light meals and snacks at good prices.For reservations and more information about tours contact Emily Fahlén emily@tenstakonsthall.se or 08-36 07 63.

Klister report: Inga undantag (No Exceptions)

Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by Klister, a nationwide network of small and medium-sized contemporary art centers in Sweden.

Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by Klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods.

Löfgren writes: "In order to correctly evaluate contemporary art galleries, an understanding of the interactions that take place between business, contemporary art and society are required."

Löfgren also argues that what primarily characterizes the work of smaller art galleries is their ability to establish effective networks locally, regionally, nationally and globally. But networking is not just a geographical phenomenon. Galleries connected to the network Klister also act as links between the public and cultural life, between school and research, between the personal and the political.

Among the report's conclusions are:

• Smaller contemporary galleres are more likely to invest in new artists. Ultimately this means that they provide established institutions with new talent, and thus serve as important distributors.

• Smaller venues for contemporary art develop innovative approaches and new teaching methods from which the entire art world benefits.

• Schools, public education, civil society, and working life could better take advantage of and utilize the competence displayed by contemporary art center's staffs.

• Bureaucratization and the increasing conditionality of cultural subsidies are wasteful because it steals time and resources away from actual operations.

• Unreasonable market rents (often communal) given to housing corporations steal a disproportionate part of small art centers’ budgets that could otherwise be invested in the galleries’ activities.

• Support for contemporary art galleries is an optimal way to support quality content in the arts and culture.

The full report can be downloaded at bag on this website. Press the bag on the top right, mark the box, and click "save bag" to download.

The report has been commissioned by Klister, a nationwide network of small and medium-sized contemporary art institutions in Sweden founded in 2012[1], in collaboration with Swedish Exhibition Agency (Riksutställningar). The network wants to highlight contemporary art institutions’ function in the community.

Homework assistance Individuell människohjälp

Every Wednesday 16:30–18:30 Since the 1990s Individuell människohjälp (IM) has arranged Homework Assistance at Tensta Library. During the autumn the activities also take place at Tensta konsthall. Volunteers provide additional support for school work, primarily for children and youth in the area. From the start, the purpose of Homework Assistance has been to promote education on an equal basis, regardless of native language. Homework assistance is aimed at young people in the neighborhood aged 11–20 years and takes place in The Classroom in the art space.

Every Wednesday 16:30–18:30 Since the 1990s Individuell människohjälp (IM) has arranged Homework Assistance at Tensta Library. During the autumn the activities also take place at Tensta konsthall. Volunteers provide additional support for school work, primarily for children and youth in the area. From the start, the purpose of Homework Assistance has been to promote education on an equal basis, regardless of native language. Homework assistance is aimed at young people in the neighborhood aged 11–20 years and takes place in The Classroom in the art space.
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The Silent University

The Silent University is initiated by artist Ahmet Ögüt and started in Stockholm as part of Tensta Musuem: Reports from new Sweden fall 2013. The Silent University is an autonomous knowledge exchange platform by and for refugees, asylum seekers, and migrants who have had a professional life and academic training in their home countries, but are unable to use their skills or professional training in Sweden due to a variety of reasons related to their status. The Silent University aims to address and reactivate the knowledge of the participants and attempt to make systemic failure apparent. www.thesilentuniversity.org

The Silent University is initiated by artist Ahmet Ögüt and started in Stockholm as part of Tensta Musuem: Reports from new Sweden fall 2013. The Silent University is an autonomous knowledge exchange platform by and for refugees, asylum seekers, and migrants who have had a professional life and academic training in their home countries, but are unable to use their skills or professional training in Sweden due to a variety of reasons related to their status. The Silent University aims to address and reactivate the knowledge of the participants and attempt to make systemic failure apparent. www.thesilentuniversity.org

Past:

Thursday 26.6, 16:00 Rêbwar Fexrî lectures on the 1951 Convention on the Legal Status of Refugees. The lecture will be about the criteria and procedures for obtaining refugee status under the 1951 Convention and 1967 Protocol. In English.

Freedom of movement is a privilege for a few citizens in the world, and does not include those who are fleeing from their countries. EU migration policy in recent years has led to increasingly closed borders and resulted in the inevitable fact that refugees are criminalized. In this way, one creates a class of people in society who are forced to live hidden—to head to a new place to seek asylum, or to go underground after a rejection, in a lawless existence. As a basis for political struggle, the situation for the undocumented is complicated: for the individual who is threatened by, for example, deportation, the state of invisibility is something to strive for—a safety. At the same time, the situation for the undocumented needs to be given visibility, in order to rouse public opinion in support of a structural change. In this vulnerable state in which the undocumented are situated, there is a need for allies.

The Silent University is an autonomous knowledge platform for asylum seekers, refugees, and migrants, initiated by the artist Ahmet Ögüt (Istanbul). As a part of the project, a seminar that discusses the encounter between art and asylum rights activism is arranged. All over Europe we see today more and more examples of how cultural workers are getting involved in projects relating to asylum seekers and people who lack official documents. The Silent University is one of these projects; in Amsterdam there is a self-organized group of undocumented people called We Are Here, in Vienna there is The Refugee Protest Camp supported by several NGOs, activists, and students, most of whom study art at the Academy of Fine Arts, and in Malmo we have No Border Musical, which is a collaboration between asylum groups in Malmö and Interact Theatre, to mention a few. By counteracting the silence that surrounds the asylum processes, these alliances between cultural life,and the refugee movement, demonstrate how art is used as a method of political action and active visualization of a social problem.

The seminar presents and discusses examples of the interaction between art and asylum activism. Which solidarity movements exist today? How does the alliance between art and activism work? How can we work creatively around new forms of protest? In short: What needs to be done?

Christina Zetterlund is a researcher in art handicraft history and theory at Konstfack in Stockholm. She also works as a freelance curator and writer.

Trifa Shakely is a social worker, lecturer and writer. She is currently working on domestic violence in Gothenburg. Trifa Shakely is the initiator of the campaign "Ain't I a Woman," for undocumented women's rights to protection, and the former editor of the feminist magazine Bang.

Monday 28.10, 18:00–20:00 2013 The Silent University Lectures "Abdullah Al Soud: Methods to learn a new language from scratch" and X.A "East Turkestan's education systems," with an introduction by Ahmet Ögüt. At ABF.

Tuesday 29.10, 18:00–20:00 2013 The Silent University Lectures series: Fahyma Alnablsi, "A comparison between Sharia and the Swedish political system" and Sherko Jahani, "Herodotus and the civilization of Medes." With an introduction by Ahmet Ögüt. At ABF.

Thursday 31.10, 18:00–20:00 2013 The Silent University Lectures Series: Rebwar Fakhry "1951 Convention on the Legal Status of Refugees" and Ahmad Alharahsheh, "LAN and WAN." With an introduction by Ahmet Ögüt. At ABF.

In conjunction with The Silent University's opening in Stockholm, a publication is released with contributions by project mentors Ricardo-Osvaldo Alvarado, Baharan Kazemi, Shahram Khosravi, Lawen Mohtadi, Babak Parham, Trifa Shakely and Christina Zetterlund.

Stockholmsskolan is an education initiative particularly intended for young people who are curious about how to proceed towards an education in art and design. The aim is to understand the art world and the path towards it, get an opportunity to examine and formulate your own opinion in relation to the themes of the exhibition, and also to develop your own artistry in various workshops. The idea is to carry out joint projects with other participants within the framework of the Stockholm school.

Each meeting includes the display of art, discussion, and a hands-on workshop where everyone can explore the art gallery exhibition's current theme. This also gives each student a chance to see how their own creativity can evolve towards future studies and future jobs.

Stockholmsskolan is a collaboration between Konstfrämjandet, Botkyrka konsthall, Konsthall C, Marabouparken, and Tensta konsthall and was founded spring 2014.

Parents group with Rädda Barnen

One Tuesday a month 17:30–19:30 Parents group with Rädda Barnen. One Tuesday evening every month Rädda barnen (Save the Children) organizes Parenting Forum at Tensta Konsthall. The Rädda barnen parents group meets at Tensta konsthall, providing a place for parents to meet, have discussions, and gain new experiences and knowledge. The meetings are free with complimentary refreshments. Each session focuses on different themes, such as the housing situation in Järva, local politics, or parenting and gender equality, and invited guests offer expertise in the different subjects.

One Tuesday a month 17:30–19:30 Parents group with Rädda Barnen. One Tuesday evening every month Rädda barnen (Save the Children) organizes Parenting Forum at Tensta Konsthall. The Rädda barnen parents group meets at Tensta konsthall, providing a place for parents to meet, have discussions, and gain new experiences and knowledge. The meetings are free with complimentary refreshments. Each session focuses on different themes, such as the housing situation in Järva, local politics, or parenting and gender equality, and invited guests offer expertise in the different subjects.

Cluster

Ongoing Cluster is a network of eight internationally operating contemporary visual art organisations situated in residential areas on the peripheries of major European cities (plus one in Holon, an industrial zone outside of Tel Aviv). Each of these organisations are actively involved in their local contexts, fostering their embeddedness within their surroundings.

Ongoing Cluster (www.clusternetwork.eu) is a network of eight internationally operating contemporary visual art organisations situated in residential areas on the peripheries of major European cities (plus one in Holon, an industrial zone outside of Tel Aviv). Each of these organisations are actively involved in their local contexts, fostering their embeddedness within their surroundings.

Cluster was initiated in June 2011 in order to facilitate internal and public exchange of knowledge about how these types of institutions function and also to establish further collaborations between them. In addition to this, the long term goal is to collaborate within the network and to increase the awareness of the institutions' and organizations' work and the importance of this outcome. Cluster is the first network of this kind.

13–14.9 2012 A new international network of art institutions gather in Tensta, September 13th–14th. Cluster meeting, How Can Small Be Strong?, is open to the public on Friday 14 September 2012 at Tensta konsthall.

15:00–16:00 lecture by Georg Schöllhammer, curator and critic based in Vienna, currently director of tranzit.at, on the changed means of funding in the art world, with specific regard to Central European perspectives

16:00-17:00 discussion

The members of the network are all:

—Located in residential areas on the peripheries of major cities —Small to medium size operations —Focused on commissioning and producing contemporary art; the type of art that is produced is often, experimental, process driven and involves research; the collaborations are carried out with local, as well as international artists —Producers of works that are anchored in the local context; the members of the staff of the various institutions and organizations actively pursue an enhancement of the relations between the local community and the organization

Through the establishment of this network the means to close connections between the institutions and organizations are created. This contributes to the sharing of knowledge regarding the specific experiences of each member, particularly on locally-based participation and how to raise interest in the institutions' and organizations' activities and operations. Furthermore, the network is a platform that enables exchange between the members regarding new projects. Each member will host one meeting. The host and its intermediary group will give a detailed presentation of its methods with a specific focus on the local context, participation, public projects and other types of local interaction. The closed workshop will transform into a public forum, that at each single occasion involves one, or several members of the Cluster network, as well as invited agents that deal in questions regarding the collective research. The results will be documented on the Cluster website.

In addition to establishing collaborative research work, the long term goal is to strengthen the position of the kind of work carried out by small scale institutions and organizations located on the outskirts of major cities. It's a type of work that with a resumed respect towards the contemporary art scene, contributes to the self-esteem of the particular neighborhood and that also pays regard to and utilizes the specific resources present in the area.

With support from the European Cultural Foundation, EUs Culture 2007 and the Swedish Arts Council.
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KLISTER

Ongoing from September 2012 The network Klister is a nationwide network for small and medium-sized contemporary art institutions in Sweden. Klister seeks to highlight the role of smaller contemporary art institutions in society.

Ongoing from September 2012 The network Klister is a nationwide network for small and medium-sized contemporary art institutions in Sweden.

The network seeks to highlight the role of smaller contemporary art institutions in society. Today, contemporary art constitutes a free zone for experiments and discussions of increasing importance. Central are issues about economy, democracy, the audience and the ”ecosystem” of art itself. The smaller, often under-financed institutions willingly invest in younger, less established artists and new ways of working. They are therefore an important link in the production and distribution for big institutions and the art market. They are also important for the forthcoming generations of artists and audiences nationwide.

The members of Klister include Bildmuseet in Umeå, Kulturens Hus in Luleå, Gävle Konstcentrum, Tensta konsthall in Stockholm, Marabouparken in Sundbyberg, Konsthall C in Stockholm, Botkyrka Konsthall, Borås konstmuseum, Skövde kulturhus, Göteborgs konsthall, Röda sten in Gothenburg, Lunds konsthall and Malmö konstmuseum. On the initiative of Tensta konsthall and Konsthall C, a first gathering took place in Tensta in September 2011.

Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods.

The full report can be downloaded at bag on this website. Press the bag on the top right, mark the box, and click "save bag" to download.

In 2013, Klister, together with Riksutställningar, arranged a series of “relay discussions” entitled what function does art have in society? The discussions aim was highlighting contemporary art and the importance and value of smaller contemporary art institutions in a democratic, economic and societal perspective. Discussions was arranged in Skövde and Gävle, Stockholm, Gothenburg, Malmö and Luleå. David Karlsson was moderator for the discussions involving officials and politicians from the different locations where they are set.

Klister is concerned with questions like: What role does art play in society? In order to be a resource for a place, a city or a community, art needs a scope for action. The importance of art is greater than the singular gallery, museum, or any other venue for art. The role of culture in the development of society is today widely discussed, but these discussions are often of a quite general nature. Furthermore they are more about art’s social and economic utility function. What do these connections actually look like? How can politics, cultural life and artists, big and small institutions, municipalities, state and the regions cooperate to create processes, allowing the potential of art to flourish?
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The Sibling Art Centers

Ongoing The network of sibling art centers in Stockholm. The Sibling Art Centers form a network of smaller contemporary art centers in Stockholm and include Botkyrka konsthall, Konsthall C, Marabouparken and Tensta konsthall. The art centers meet regularly to exchange ideas and organize events that are pertinent to cultural policies. In 2012, the Sibling Art Centers arranged a series of hearings to highlight and discuss the prevailing cultural policies as well as art institutions and artists' access to financing. Questions about gentrification and "creative industries" continue to be hot topics when the Siblings Art Centers meet.

Ongoing The network of sibling art centers in Stockholm. The Sibling Art Centers form a network of smaller contemporary art centers in Stockholm and include Botkyrka konsthall, Konsthall C, Marabouparken and Tensta konsthall. The art centers meet regularly to exchange ideas and organize events that are pertinent to cultural policies. In 2012, the Sibling Art Centers arranged a series of hearings to highlight and discuss the prevailing cultural policies as well as art institutions and artists' access to financing. Questions about gentrification and "creative industries" continue to be hot topics when the Siblings Art Centers meet.
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COHAB

2012–2014 Casco, Office for Art, Design and Theory, Utrecht, Tensta konsthall, Stockholm, and The Showroom, London are pleased to announce the launch of the two-year project COHAB that investigates meaningful ways in which artists and organisations can be deeply invested within their local contexts and at the same time form close dialogues in an international arena.

2012–2014 Casco, Office for Art, Design and Theory, Utrecht, Tensta konsthall, Stockholm, and The Showroom, London are pleased to announce the launch of the two-year project COHAB.

COHAB investigates meaningful ways in which artists and organisations can be deeply invested within their local contexts and at the same time form close dialogues in an international arena. Drawing on areas of commonality—such as our ‘situated’ ways of working—COHAB will link our work together more closely to explore themes that are relevant to each of us: questions of locality, community and ‘the commons’ in relation to forms of social and economic organisation, and more broadly, questions of cohabitation both on a local and European level, and aim to develop fresh models of how to work together as arts organisations. The project is comprised of a series of four ‘keynote’ artists’ productions; local ‘action research’ projects led by each organisation involving artists projects that will be developed with the participation of communities who share the concerns of the project.

COHAB also connects with the activities of Cluster, a wider network of eight visual arts organisations, each located in residential areas peripheral to large cities in Europe and its edges, which also involves CAC Brétigny, Brétigny s/Orge, France; CA2M Centro Dos De Mayo, Madrid, Spain; Les Laboratoires d'Aubervilliers, Aubervilliers, France; The Israeli Center for Digital Art, Holon, Israel; Zavod P.A.R.A.S.I.T.E., Ljubljana, Slovenia. Each of these organisations are actively involved in their local contexts, fostering their embeddedness within their surroundings. Cluster has the goal of facilitating knowledge exchange in relation to how our organisations operate within our local contexts, which will take place during 2012-2013 through a series of meetings hosted by each organisation in the network.

Publishing in Process: Ownership in Question was a series of public seminars at Tensta konsthall inviting artists and writers to present projects and perspectives around the intersection of art, intellectual property, political economy and the public realm from February–May 2012. The project asked, at a moment when the distribution between what is privately owned and publicly shared in society is being fundamentally scrutinized, questioned and protested in many parts of the world, what do notions of production, property, ownership and exchange mean to us right now? With seminars by Florian Schneider, Antonia Hirsch, Marina Vishmidt and Matthew Stadler. A collaborative project by artist Marysia Lewandowska and curator Laurel Ptak, whose next iteration will result in a book published by Sternberg Press to be released in the spring of 2013.

‘I Can’t Work Like This’ creates a platform for examining working conditions in the permanent crisis of the neo-liberal economic regime, and for learning how workers from variant sectors can get effectively organized, through a collaborative and transdisciplinary approach involving art, design, action and theory. Taking the forms of an exhibition and public events, the project presented different relations between art and labour-related struggles, suggested through documentations of actions, contemporary and historical artworks, designs and other artifacts. The exhibition includeded works by artist Charlotte Posenenske, Argentinean art collective Tucumán Arde (Archivo Graciela Carnevale) and British film collectives from the 60s and 70s. It also documents cases where the struggle for better working conditions merge with aesthetic practices, such as in the work of the Carrotworkers’ Collective, Jinsuk Kim & Hope Bus movement, as well as contemporary organising models used in campaigns by Justice for Janitors, workers of Silicon Valley and the Dutch Cleaners Union.

Andrea Francke’s Invisible spaces of parenthood: A collection of pragmatic propositions for a better future explores issues surrounding childcare in collaboration with The Showroom’s local nurseries, childminders, children's centres and parent groups, seeking new models and possibilities. This included the setting up of a workshop in The Showroom’s gallery for visitors and workshop participants to test out DIY designs for furniture and play and a series of discussions on issues around parenting from the perspectives of locals as well as of cultural workers. These will feed into a Manual, published in October 2012.

The Grand Domestic Revolution (GDR) is an ongoing ‘living research’ project initiated by Casco ­­– Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common. Inspired by US late nineteenth-century ‘material feminist’ movements that experimented with communal solutions to isolated domestic life and work, GDR involved artists, designers, domestic workers, architects, gardeners, activists and others to collaboratively experiment with and re-articulate the domestic sphere challenging traditional and contemporary divisions of private and public.

Now GDR goes on, evolving in different scales and extensions, taken up and transformed in different cities, sites and neighbourhoods by those who desire to carry on the GDR from their own home base or by those already engaged with it in their local languages and practices. At The Showroom an exhibition of contemporary and historical artworks and a diverse and growing reference library form a base for workshops and events that will develop the GDR further, while they will forge connections and affinities with The Showroom’s ongoing programme of neighbourhood-based commissions, Communal Knowledge.

The Tiger's Mind is based on an experimental narrative score of the same name, written in 1967 by the radical British composer Cornelius Cardew. Departing from the character based and improvizatory nature of the score and working with a fixed group of artists for over a year long period (Alex Waterman as the Tree, Jesse Ash as the Wind, John Tilbury as the Mind, Celine Condorelli as the Tiger, Will Holder as Amy and Gibson as the Circle) the film deployed the score as a production structure inviting the participants to develop its varying components: soundtrack, set, special effects, music and text. The resulting piece documents its own making in fictional form, extending narrative and character to the production process itself, dramatising and re-staging it for film: Tiger's sets, Mind's music, Wind's effects, Tree's sounds, Amy's narration and Circle's direction all knock up against each other in a battle for primacy.

The Tiger’s Mind was developed as part of a longer-term publishing project initiated by Will Holder and Beatrice Gibson in 2010 and realised through a series of week long discussions hosted by Kunsthlerhaus Stuttgart, CAC Brétigny and Kunstverein, Amsterdam. These conversations fed into a publication, edited and produced by Holder, and will be published by Sternberg Press, on the occasion of the exhibition.

COHAB is supported by a Cooperation Measures grant from the European Commission Culture Programme (2007-2013). Cluster is also supported by a grant from the European Cultural Foundation and by the Arts Council of Sweden. The title COHAB is borrowed from a project by Can Altay at Casco in 2011, developed in the framework of Circular Facts (2009-2011).
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The New Model

2011– Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey, Hito Steyerl. Started in 2011 at Tensta konsthall, over a period of two years, The New Model will investigate the heritage from The Model: A model for a qualitative society in a number of projects, seminars, workshops and exhibitions. Participants will include Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey and Hito Steyerl.

Started in 2011 at Tensta konsthall, over a period of two years, The New Model will investigate the heritage from The Model: A model for a qualitative society in a number of projects, seminars, workshops and exhibitions. Participants will include Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey and Hito Steyerl.

The point of departure for The New Model is Palle Nielsen’s legendary project from 1968, Modellen. En modell för ett kvalitativt samhälle (The Model. A model for a qualitative society). By transforming Moderna Museet into an adventure playground Nielsen wanted to give children a chance to ”be themselves” and express their own reality. The children would be able to play in an environment that was free and separate from the adult world in general and from the urban milieu in particular, and in an environment adapted to their own energetic activities. In contrast, nowadays, more or less every aspect of our lives is capitalized and culture is dominated by entertainment. Our lives in 2011 do not share much in common with the social and cultural upheavals of 1968. Today, not even play is an unspoiled, intact freedom; it is in part a function of the creative industries. How can we re-articulate and renew the questions Nielsen posed with his Model? How can we create a qualitative society out of a totally other reality? During the course of two years, The New Model, will be investigating the heritage of the Model in a number of projects involving seminars, workshops and exhibitions.

The first seminar featuring lectures by the participants, took place at Blå huset in Tensta on Saturday, 8.10 featuring presentations by critic Lars Bang Larsen and artists Magnus Bärtås, Dave Hullfish Bailey and Hito Steyerl.

The second seminar took place on 11.3, 12:00-17:00. The Model and the City: A Seminar on Palle Nielsen’s project The Model (Moderna Museet 1968) and Tensta. With Palle Nielsen, Gunilla Lundahl, Erik Stenberg.

The exhibition The Society Without Qualities will take place from February-May 2013 with works by Søren Andreasen (Copenhagen), Archizoom (Milan), Ane Hjort Guttu (Oslo), Jakob Jakobsen (Copenhagen), Sture and Ann Charlotte Johannesson (Malmö), Learning Site (Copenhagen/Malmö), Sharon Lockhart (Los Angeles), Joanna Lombard (Stockholm), Palle Nielsen (Copenhagen). Curated by Lars Bang Larsen as part of The New Model.

The Society Without Qualities revisits some of the concerns of the 1960s,such as education, militancy, experimental urban planning, the child as an active historical subject, and the critical use of the art institution. The exhibition also deals with the representation of children in art and society. The Society Without Qualities is in part a historical exhibition that takes its point of departure around the time of the youth revolt in 1968, and works its way through positions in art and architecture of the 1970s and 1980s up till the present day. Unlike Palle Nielsen’s legendary Modellen at Moderna Museet in 1968, however, The Society Without Qualities asks what it would mean to proceed without a model or an image of the society to come; what it would mean to not project any figurative qualities onto the future. The notion of play—in so far as it is present at all—is here less of a promise to the future, but closer to the way that Roger Caillois defined it in terms of rupture and break: “a kind of spasm, seizure or shock which destroys reality with sovereign brusqueness” (Man, Play and Games, 1958).

Lars Bang Larsen is an art historian, curator and writer based in Kassel and Copenhagen. He has co-curated exhibitions such as Pyramids of Mars (2000—2001), Populism (2005) and A History of Irritated Material (2010). His books include the monograph Sture Johannesson (2002) and The Model. A Model for a Qualitative Society, 1968 (2010), about Palle Nielsen’s mass utopian adventure playgrounds for children. In Danish have appeared the booklets Kunst er Norm, Organisationsformer and Spredt væren (Art is Norm, Forms of Organisation and Dissipated being, 2008-2010), an attempt at writing a poetics against the experience economy. Lars wrote his PhD at the University of Copenhagen about psychedelic concepts in neo-avant-garde art. This autumn will appear the book The Critical Mass of Mediation, written with the artist Søren Andreasen.

Magnus Bärtås is an artist and writer. In his work he often usesconstructed narratives related to places and buildings. By employing literary modes and methods his works privilege the meaning of the local, the situated and the neglected detail. Fundamental to the works are meetings, conversations and storytelling—activities that are closely linked to the biographical genre, but also to the oral dissemination of artworks. His dissertation in artistic research You Told Me—work stories and video essays (2010) is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art. You Told Me is also about the making of video essays—about listening and talking to images, and making transferences between the working instances of narrative video. Since 2008 Magnus Bärtås is professor of fine art at Konstfack in Stockholm. He has participated in Void of Memory/Platform—98, Seoul; Modernautställningen, Moderna Museet 2006 and 2010, Stockholm; the 4th Bucharest Biennial 2010; and Swedish Conceptual Art, Kalmar Konstmuseum 2010; among other group exhibitions. Gävle Konstcentrum made a solo presentation of his work in 2010. His video essay Madame & Little Boy won the first prize at Oberhausen International Film Festival 2010 and has since been screened at a number of film festivals. Together with Fredrik Ekman he has published three books of essays.

Ane Hjort Guttu. An artist and curator born in 1971, based in Oslo. Her artistic work investigates representation strategies and power structures—particularly within architecture and pedagogy—through analytical essays, image collections, video and photography. She has also created several projects where she examines specific historical works of art. Recent shows include Looking is political (Bergen Kunsthall 2009), Making is Thinking (Witte de With, Rotterdam 2011) and Genius without Knowledge (de Appel, Amsterdam 2011). Forthcoming shows and projects are, among others, Sunlight on the Upper Part of a House (Kunsthall Oslo 2012), Don´t Tell Me (Sic! Raum für Kunst, Luzern) and Learning for Life, Henie Onstad kunstsenter, Oslo. Guttu is currently a research fellow at the National Academy of the Arts, Oslo.

Dave Hullfish Bailey. Born 1963 in Denver; lives in Los Angeles. Bailey’s practice is research-based and takes form as site-based interventions, exhibitions, publications, expeditions and workshops. Recent presentations include For the blind man in the dark room looking for the black cat that isn’t there(Contemporary Art Museum St. Louis, ICA London, De Appel, and other venues, 2009—10); Surrounded by Squares: Dave Hullfish Bailey and Nils Norman, Raven Row, London (2009); Biennale de Lyon (2007); What’s Left to its own Devices (On reclamation), Casco Office for Art, Design and Theory, Utrecht (2007); and CityCat Project, Brisbane (2006/ongoing). Published books include Elevator (Secession, Vienna: 2006), What’s Left (Casco/Sternberg Press, Utrecht/Berlin: 2009), and Union Pacific (Künstlerhaus Bethanien, Berlin: 1999). Reviews of his work have appeared in Artforum, Frieze, Springerin, artext, Untitled, Nu: The Nordic Art Review, and other journals. Bailey is currently Adjunct Associate Professor in the Fine Art department at Art Center College of Design, Pasadena, and has guest-taught widely. He studied science, philosophy and theology at Carleton College and Harvard Divinity School, and received an MFA from Art Center College of Design. Grants include Durfee Foundation, California Community Foundation and Philip Morris Kunstförderung.

Gunilla Lundahl. Cultural journalist and author. Lundahl began her career at the daily newspaper, Arbetaren (The Worker) in 1955 and has since then been employed by Form at different times from 1965 to 1985. She was the editor for Arkitekttidningen for six years in the 1970s, guest editor and employee of the journal Arkitektur during the 1980s and columnist in Hemslöjden in the beginning of the 2000s. As a freelance writer she has written about design, art and architecture and contributed to more than 100 books, anthologies, catalogues and reports, working as writer, co-writer or editor. Gunilla Lundahl has been in charge of exhibitions such as Modellen (The Model) and Araratat Moderna Museet; Den naturliga staden (The Natural City) and Kvinnorum (Women’s Space) at the Architecture Museum; Himla skönt (So terribly lovely) for Riksutställningar (the Swedish Travelling Exhibitions). Her research includes projects around collective living and arts and crafts. In the beginning of the 1970’s she was a teacher at the Royal Institute of Technology. Books include: Hus och rum för små barn (House and Space for Small Children), 1995; Karaktär och känsla (Character and Feeling), 1999; Kontinuitet och förändring(Continuity and Change), 2011.

Palle Nielsen was born in 1942 in Copenhagen. He studied painting at the Royal Danish Academy of Fine Arts in Copenhagen from 1963 to 1967 and participated in several exhibitions while still a student. He concluded his education with employment with the municipal architects in a large suburb of Copenhagen where he designed and supervised the building of several playgrounds.

Nielsen participated in a series of urban actions in Copenhagen in the beginning of 1968 and later went to Stockholm to take part in the planning of Aktion Samtal (Action Talk). In July 1968 he received a grant from the Royal School of Architecture in Copenhagen to do research on the subject of “children and urban space” under the auspices of Professor Sven Ingvar Andersson in the department of Landscape Planning. This meant that, together with a group of friends in Stockholm, Nielsen could realize the exhibition Modellen. En modell for ett kvalitativt samhälle (The Model. A Model for a Qualitative Society) at Moderna Museet in Stockholm, October 1968.

In the beginning of 1969, ideas from the exhibition at Modern Museet were tested in a residential area in Västerås. The project was called Ballongen (The Balloon). Nielsen has done research on children’s play in urban space; he has studied pedagogy at the University of Copenhagen and taught the subject. He has been an architecture critic and has built playgrounds as an architect and designed ornamentation for public buildings. He has also worked for a long time as a supervisor for unemployed people in conjunction with large creative projects.

In 1998, Lars Bang Larsen brought to light documentation material from The Model (1968) which had been buried for 30 years in Nielsen’s home. Since then, this material has been shown in exhibitions in Europe and distributed through magazines and journals. In 2009 Nielsen donated the material to MACBA (Barcelona Contemporary Art Museum), where it was recreated visually and with sound; MACBA also published a book on The Model. The work was subsequently exhibited at the Biennial in Sao Paulo and in Paris. In 2009 Nielsen presented the piece, The Children’s Peace Square in Utrecht.

Erik Stenberg. Head of the Department of Architecture at KTH, has been engaged in the practice and politics of restructuring the large scale modernist housing areas in Sweden for the last decade. He has redesigned apartments, organized a housing fair, and started an introductory architecture school in Tensta—one of Stockholm’s largest modernist housing areas. Further, he has lectured extensively, led design studios, organized lecture series and held seminars focusing on interventions and strategies for repurposing the housing stock. He is currently in the early stages of planning an exhibit at the Swedish Museum of Architecture concerning the fourfold set of forces pressuring the Swedish post war housing areas: maintenance/renovation, integration/segregation, energy/sustainability and preservation/history.

Hito Steyerl. Filmmaker and writer. Written and visual essays about traveling images and their relation to spectacle, history and violence. Teaches New Media at University of Arts Berlin. Shows include dOKUMENTA 12, biennials in Shanghai, Gwangju, Taipeh, Berlin, Manifesta 5 and many other places. Steyerl has had solo shows at nbk Berlin and Henie Onstad Art Centre, Norway among many others. One of her favorite works is the thorough dismantling of the facade of the Linz Art School, a large Nazi building (2009) sitting on the city’s main square. Recent books include The Color of Truth 2008, Beyond Representation (forthcoming) and The Wretched of the Screen (forthcoming).

11.3, 12:00-17:00 Second Seminar

In 1968 artist and architect Palle Nielsen initiated The Model: A model for a qualitative society which was a playground for children installed at Moderna Museet as part of Action Talk, a series of urban events in Stockholm. Despite the fact that The Model became a legendary event at one of Sweden’s most prestigious museums, it has taken a long time for the project to find its way into the history books. The reasons for this delay is undoubtedly due to the project’s dual nature—a mix of artistic research and activism—as well as its collective character and deep roots inside Nielsen’s activist network.

With pivotal agents from The Model and Action Talk present, this seminar at Tensta konsthall will take up the project from the perspective of art and cultural history—looking at how as it was perceived at the time and in its historical context of 1968. The seminar also explores the question of how contemporary experience and theory can inform historical events, which are still important and timely for us today.

11.3 2012 Participants and program 12:00-12:30 Introduction by Maria Lind and Lars Bang Larsen 12:30-13:30 Palle Nielsen, initiator of The Model: A model for a qualitative society at Moderna Museet 1968. On The Model in his own words. 13:30-13:45 Coffee break 13:45-14:30 Gunilla Lundahl, co-organizer of The Model. On Action Talk and city activism in Stockholm. 14:30-15:15 Erik Stenberg, Dean of The Royal Institute of Technology in Stockholm and resident of Tensta from 1999-2011. On Tensta, the “Million Dwelling Programme” and the new satellite towns. 15:15-15:30 Coffee break 15:30-16:30 Discussion 16:30-17:00 Visit to the “museum apartment” of Stockholm Stadsmuseum (The City Museum of Stockholm) furnished like when the first family lived here in 1969.

The Model and the City: A Seminar on Palle Nielsen’s project The Model (Moderna Museet, 1968) and Tensta is a collaboration between Tensta konsthall and The Royal Institute of Technology in Stockholm. It is part of The New Model and The Million Programc/o The Royal Institute of Technology.

With its starting point in this seminar, the project The Million Programc/o The Royal Institute of Technology will explore The Million Dwelling Programme from an architectural and historical as well as its current and future status.

The Fashion Project

From March 2012 In this project fashion is placed into a wider context, focused on identity and networking for women.

From March 2012 The Fashion Project, a collaboration between Ross Tensta Gymnasium and Tensta konsthall, was initiated in March 2012. The group meets every Monday afternoon at the konsthall to work both theoretically and hands-on with questions that involve fashion, identity and networking for women. Together with mediator Emily Fahlén and Safiya Guleed, workshops and projects are developed that often take collective exercises as their starting point. In collaboration with The Centre for Fashion Studies at Stockholm University and Lava, Kulturhuset.

Through screen prints, photography and written narratives a group of girls from Tensta employ and analyze the phenomenon of fashion. As a group they have used fashion as a means to explore collective identity and public space. With pastel colored flags and black masks the girls use these props to highlight their solidarity. They resemble an army, people demonstrating or a group on a mission.

Gallery Club

Ongoing In the spring of 2011 Konsthallsklubben (Gallery Club) was initiated by a group of 11 year-old girls from a nearby school. The club is aimed at children, 10-13 years old, who meet once a week to discuss and make art together with invited artists and staff.

OngoingIn the spring of 2011 Konsthallsklubben (Gallery Club) was initiated by a group of 11 year-old girls from a nearby school. The club is aimed at children, 10-13 years old, who meet every Tuesday to discuss and make art together with invited artists and staff. Club activities are based in the konsthall but can also take place at other locations in Tensta. The Gallery Club also makes excursions to other parts of Stockholm for projects and activities. The participants themselves discuss and decide these activities and projects, which range from visits to exhibitions, film projects to building volcanoes.

Gunilla Klingberg: Brand New View—Tensta

Ongoing Gunilla Klingberg’s work on the two front windows of Tensta Centrum, Brand New View—Tensta, is a new work in a series of installations with cut-out foil on windows. For Abstract Possible: The Stockholm Synergies she has made a new version of Brand New View, this time relying on logos found in Tensta Centrum, for example, the grocery store Matvärlden and the kebab restaurant Tasty Fried Chicken.

Ongoing Brand New View is a series of installations with cut-out foil on windows. Employing mandala-like abstract patterns based on logos from cheap brands more likely to appear on the sink at home, rather than more prestigious brands from luxury goods, Gunilla Klingberg evokes Eastern and New Age types of abstraction. However, “the spiritual in art” here has more to do with consumption than with ideas such as Vassily Kandinsky’s about transcendence through art. For Abstract Possible: The Stockholm Synergies she has made a new version of Brand New View, this time relying on logos found in Tensta Centrum, for example, the grocery store Matvärlden and the kebab restaurant Tasty Fried Chicken. In Klingberg’s installation we are surrounded by seductively beautiful and commercially-driven manifestations of abstraction with the potential to quite literally make us lose orientation.

Wade Guyton: Untitled

Ongoing The floor in Tensta konsthall's exhibition space is a work by New York based artist Wade Guyton. The very means of artistic production—particularly painting—are the focus of many of his works. Untitled (2010) is a remake of the floor in Guyton’s former studio space.

Ongoing The floor in Tensta konsthall´s exhibition space is a work by the artist Wade Guyton (New York). The very means of artistic production, particularly painting, are the focus of many of Wade Guyton’s works. The work Untitled (2010) is a remake of the floor in Guyton’s former studio. Cheap plywood was painted glossy black, thereby creating a large sculpture, or pedestal, as the very support of all work taking place in the studio. At the same time, the floor becomes an enormous monochrome painting, partaking in a somewhat daunting tradition. At Tensta konsthallthe floor has been released from this context, taking on a different existence.

Tommy Støckel: Workshop with Ross Tensta Gymnasium and KTH Tensta

Ongoing The results from the workshop that the artist Tommy Støckel held in December 2011, together with students from Ross Tensta gymnasium and KTH Tensta in conjunction with Tensta konsthall are exhibited in Ross Tensta Gymnasium’s conservatory. The workshop was carried out during Abstract Possible: The Stockholm Synergies, where Tommy Støckel partook with the piece In My Mind This Goes On Forever (2012).

Ongoing The results from the workshop that the artist Tommy Støckel held in December 2011, together with students from Ross Tensta Gymnasium and KTH Tensta in conjunction with Tensta konsthall are exhibited in Ross Tensta gymnasium’s conservatory.

In Tommy Støckels (Copenhagen/Berlin) artistry, crafts and science, speculation and optical phenomenons are joint together. Most of the materials he use can be purchased from shops where you can by stationary supplies or material for various crafts. Paper, cardboard, foam and glue are put together in industrious production processes carried out by hand. The same materials and methods were put to use in the workshop with its young participants. Their assignment was to create an exhibition that was adapted to the specific sight. All aspects should be considered carefully, nothing should be left to chance or be temporary. The theme of the exhibiton is abstraction and the students chose to make an abstraction of the world.

Tenstakonsthall.se

Ongoing Tensta konsthall's new website and a communication strategy is specific for the art space and its program. Design by Amsterdam-based design studio Metahaven.

Ongoing Amsterdam-based design studio Metahaven, programmer Henrik van Leeuwen and Tensta konsthall curator Laurel Ptak have developed a new website and a communication strategy specific for the art space and its program.

Spatial Concept: Nikolaus Hirsch

Ongoing The spatial concept for the new Tensta konsthall has been developed by architect Nikolaus Hirsch. Architect Filippa Stålhane has developed the details.

Ongoing The spatial concept for the new Tensta konsthall has been developed by architect Nikolaus Hirsch who was responsible for strategic changes such as painting the black ceiling white, installing strip lights and taking down a wall to the old office providing more presentational space. Architect Filippa Stålhane has developed the details, including the interiors of the office and the cafe.
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ToursWe do custom tours for elementary school to high school aged groups. Pre-booked tours during the day for schools are free. The tour takes about 50 minutes.

Tensta konthall offers guided tours of current exhibitions for large groups such as arts organizations, businesses or private groups. Tours are offered in Swedish and English. Cost is 2000 SEK + voluntary entrance donation. Length is about 50 minutes and maximum number of participants is 30.

In conjunction with tours our Café can offer light meals and snacks at good prices.

DirectionsTake the blue line metro towards Hjulsta (line 10) and get off at Tensta. The ride takes about twenty minutes from Stockholm's Central Station (T-Centralen). At the metro station in Tensta, take the rear exit called ”Spånga kyrka / Tensta Centrum / Tenstastråket”. Once you have left the station through the ticket barrier, there are two possibilities to get to Tensta konsthall: Use the lift on your right hand side down to Taxingeplan. Tensta konsthall is located about 20 metres on your right. Or leave the metro station on your left hand side, take the first left again (immediately in front of the public toilet). Go down the wooden stairs. Tensta konsthall is located directly on your right.

cafe

The café is the entrance to Tensta konsthall. The café offers coffee and light meals, and its opening times are the same as the gallery’s. Tensta konsthall and its café, with free Internet service, also functions as a meeting place for individuals, groups and organizations, and as a workplace. The menu varies from day to day, and can include substantial salads, soups and grilled sandwiches. The café also offers espresso, a large selection of teas, which can be accompanied by, for example, baklava, carrot cake, cinnamon rolls.

The café is run by XpandiaVision, a non-profit social company. All proceeds will be used to create new jobs and career development for people who stand outside of the labor market.

de:tune Järva - Tarek Atoui is realized with support from Musikverket and Elektronmusikstudion EMS

Doing what you want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic and Martha Wilson is realized in collaboration with Henie Onstad Kunstsenter in Oslo. The seminar series Dream and Reality is realized in collaboration with the Institution for Culture and Communication at Södertörn University and ABF

Frederick Kiesler: Visions at Work Annotated by Céline Condorelli and Six Student Groups In collaboration with The Austrian Frederick and Lillian Kiesler Private Foundation. With support from Embassy of Austria in Stockholm.

Gallery club is realized in collaboration with TioTretton Kulturhuset, Cinema Africa, Blå Huset

Hinrich Sachs Kami, Khoka, Bert and Ernie (World Heritage) is realized with support from Baselland, Basel-Stadt, Pro Helvetia, Royal Institute of Art; The Embassy of Switzerland in Stockholm, Parts of Hinrich Sachs Kami, Khoka, Bert and Ernie (World Heritage) are realized in collaboration with Askebyskolan Rinkeby, Livstycket

Katitzi: A Literary Character Rooted in Reality is realized in collaboration with Angelica Ström. The seminar series is realized in collaboration with ABF and the publishers, Natur och Kultur

Publishing In Process: Ownership In Question is realized with support by Iaspis, Konstfack. It is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, Stockholm, realized with the support of the Culture Programme of the European Union

T.451 by Dominique Gonzalez-Foerster and Ari Benjamin Meyers is realized in collaboration with Stockholm konst, who produced the project, and with support by Stockholm Library and Tensta Library; Thanks to Greater Stockholm Fire Department, The Organization Röda Hanen, The Kurdish Association Spånga, Stockholm City Museum

Tensta museum: Reports from New Sweden is funded with support from Svenska Postkodlotteriet and is also a part of Beginning as Well as We Can: How Much Fascism Can We Take, a collaboration between WHW, Zagreb, and Grazer Kunstverein, Graz. With the support from the Culture Programme of the European Union and the European Commission.

The Cut is realized with support by Kulturbryggan

The Fashion Project is realized in collaboration with the Center for Fashion Studies, Stockholm University

The New Model is realized with support by European Cultural Foundation, Goethe Institut, Office for Contemporary Art Norway, Kulturkontakt Nord; Parts of the New Model are realized in collaboration with The School of Architecture at The Royal Institute of Technology. It is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, Stockholm, realized with the support of the Culture Programme of the European Union

The Society Without Qualities is realized as part of The New Model which is realized with support by European Cultural Foundation, Goethe Institut, Office for Contemporary Art Norway, Kulturkontakt Nord and is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, realized with the support of the Culture Programme of the European Union. Thanks to Gallery Nicolai Wallner and Kulturkontakt Nord. Sharon Lockhart would like to thank neugerriemschneider, Berlin, Gladstone Gallery, New York and Brussels, and Blum & Poe, Los Angeles. Learning Site would like to thank The Swedish Arts Grants Committee and Danish Art Agency.

This Place is Every Place by Ane Hjort Guttu, is produced with the support of Norsk Filminstitutt, Tensta konsthall, Fritt Ord, Bildende Kunstneres Vederlagsfond and Akershus kunstsenter, Office for Contemporary Art Norway and Nordic Culture Point. What does an art institution do? is realized in collaboration with Konstfack’s Master program Art in the Public Realm and Curatorlab; The project is supported by Iaspis

What Does Social Practice Do? is realized in collaboration with the KTH School of Architecture, KTH in Tensta and the Stockholm City Planning Office. In Collaboration with CuratorLab, Konstfack. Supported by FCT (Fundação para a Ciência e Tecnologia); IASPIS; Instituto Camões Stockholm; TAP airlines; Portuguese Embassy in Stockholm

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Liquidity Inc. by Hito Steyerl

10.10 2015-10.1 2016 Liquidity Inc. by Hito Steyerl, as part of The New Model. “Be water, my friend” reads the initial phrase in Hito Steyerl's Liquidity Inc. (2014), a video installation about the formless, floating, violent, and simultaneously vital water. In Liquidity Inc., water gushes out of television screens and iPhone screen savers. It functions both as a liquid and as an inexhaustible metaphor: the liquefied form of capital, the dot-com bubble when it bursts.

10.10 2015-10.1 2015 Liquidity Inc. by Hito Steyerl, as part of The New Model. “Be water, my friend” reads the initial phrase in Hito Steyerl's Liquidity Inc. (2014), a video installation about the formless, floating, violent, and simultaneously vital water. In Liquidity Inc., water gushes out of television screens and iPhone screen savers. It functions both as a liquid and as an inexhaustible metaphor: the liquefied form of capital, the dot-com bubble when it bursts.

Using montage as its idiom, Liquidity Inc. tells the story of Jacob Wood, a martial arts enthusiast who lost his job when Lehman Brothers went bankrupt during the 2008 financial crisis. Wood was born during the Vietnam War and came to the US as part of President Gerard Ford's Operation Babylift, an extensive adoption program in which several thousands of homeless and orphaned children were adopted from Vietnam and brought to the United States. Wood's story is interspersed with footage from boxing matches and weather disasters, Hito Steyerl’s own chat conversations, and images from an ocean and a horizon where the water seems to speak in its own typeface: “I am water. I'm not from here.”

The digital images evoke unexpected, elegant, and sometimes unpleasant associations. A recurring image depicts animated bodies that fall lifeless into the depth. Another, more surreal element is the weather report—or perhaps the State of the World report—where a person dressed in a black balaclava rebelliously comments on the trade winds. “Your emotions affect the weather,” says the anchor in front of a world map where all boundaries are defined and laid bare, revealing the collapsed states, the stateless, the plundered.

With Liquidity Inc., Steyerl consolidates her position as a playful, connected, and anxious artist. The thirty minute video is equally a story about the lack of contours and about control, about Inc., Incorporation. About water as a company, and the company as a movement in water that infiltrates, washing across all bodies.

Liquidity Inc. is on view as the final part of The New Model, a project initiated by Tensta konsthall in 2011. The New Model’s starting point is Palle Nielsen’s The Model: A model for a qualitative society that was installed at Moderna Museet in fall 1968. By transforming Moderna Museet into an adventure playground for children, Nielsen - together with Gunilla Lundahl and a number of urban activists - wanted to provide them with the opportunity to “be themselves” and express their own reality. The models’ main themes and key issues were artistic research, the right to the city, the child as an active historical subject, and the critical use of the art institution. Participants in The New Model—Lars Bang Larsen, Magnus Bärtås, Ane Hjort Guttu, Dave Hullfish Bailey, and Hito Steyerl—have been invited to investigate the heritage from The Model in a number of projects, seminars, workshops and exhibitions. (Steyerl’s contribution is an already existing work.) Some of the central questions are as follows: how can the potential of art as a form of knowledge be explored in relation to contemporary social situations? What new social models can art suggest? And what do the aesthetics of model building look like?

As part of The New Model, two seminars, one group exhibition and three commissions by Magnus Bärtås, Ane Hjort Guttu and Dave Hullfish Bailey have taken place.

The first seminar came about at Blå huset in Tensta on Saturday, 8.10, 2011 and featured presentations by critic Lars Bang Larsen and artists Magnus Bärtås, Dave Hullfish Bailey and Hito Steyerl.

The second seminar took place on 11.3, 2012 and was titled The Model and the City: A Seminar on Palle Nielsen’s project The Model (Moderna Museet 1968) and Tensta. With Palle Nielsen, Gunilla Lundahl and Erik Stenberg.

The exhibition The Society Without Qualities was curated by Lars Bang Larsen as part of The New Model. It took place from February-May 2013 and included works by Søren Andreasen (Copenhagen), Archizoom (Milan), Ane Hjort Guttu (Oslo), Jakob Jakobsen (Copenhagen), Sture and Ann Charlotte Johannesson (Malmö), Learning Site (Copenhagen/Malmö), Sharon Lockhart (Los Angeles), Joanna Lombard (Stockholm), Palle Nielsen (Copenhagen).

The Society Without Qualities revisited some of the concerns of the 1960s, such as education, militancy, experimental urban planning, the child as an active historical subject, and the critical use of the art institution. Unlike Palle Nielsen’s legendary Modellen at Moderna Museet in 1968, however, The Society Without Qualities asked what it would mean to proceed without a model or an image of the society to come; what it would mean to not project any figurative qualities onto the future.

School Section by Dave Hullfish Bailey took part during the fall of 2015.

Hito Steyerl is a filmmaker and writer with an interest in the instability of images, in how they are produced, wrapped, distributed, and consumed. With a unique precision, Steyerl examines the digital state and its relation to violence and capitalism. Steyerl teaches New Media at the University of Arts, Berlin. Notable exhibitions include her contribution to the German Pavilion at the Venice Biennale in 2015, dOCUMENTA 12, biennales in Shanghai, Gwangju, Taipei, and Berlin, as well as Manifesta 5. Steyerl has contributed to several publications, including Beyond Representation (2012), The Colour of Truth (2008), and The Greenroom: Reconsidering the Documentary and Contemporary Art (edited together with Maria Lind, 2008). In 2006, Steyerl held a six month studio residency at Iaspis.

Transmissions From the Liberated Zones by Filipa César

16.10 2015–10.1 2016 Opening this fall is the artist and filmmaker Filipa César's first solo exhibition in Sweden: Transmissions From the Liberated Zones. The show marks the starting point of a two-year program line at Tensta konsthall that investigates contemporary art’s relation to international solidarity movements and examines the notion solidarity can imply today. Since 2008, César has worked with the post-colonial history of Portugal and the liberation movement in Guinea-Bissau. Her work renegotiates the mechanisms of history writing by combining established and subjective perspectives with the poetics inherent in moving images.

16.10 2015–10.1 2016 Opening this fall is the artist and filmmaker Filipa César's first solo exhibition in Sweden: Transmissions From the Liberated Zones. The show marks the starting point of a two-year program line at Tensta konsthall that investigates contemporary art’s relation to international solidarity movements and examines the notion solidarity can imply today. Since 2008, César has worked with the post-colonial history of Portugal and the liberation movement in Guinea-Bissau. Her work renegotiates the mechanisms of history writing by combining established and subjective perspectives with the poetics inherent in moving images.

In a new film commissioned by Tensta konsthall, César portrays the Swedish presence in Guinea-Bissau through meetings with the Social Democratic politician Birgitta Dahl, UN diplomat Folke Löfgren, and Swedish Television employee Lennart Malmer. At different times, these three Swedes each set off into the tropical jungle where the guerrilla war raged between 1969 and 1973. The international presence allowed an insight into the specific conflict in Guinea-Bissau, which thus functioned as an example for many other coeval African liberation movements. In conversations with Dahl, Löfgren, and Malmer, the linear story is cut up by documents, photographs, and clear memories. They reminisce about scents, scenes from a dance performance, and what it feels like to wear the guerrilla uniforms. These memories are channelled through physical objects, photographs, and videotapes and linked together by an experience of an embodied solidarity.

The leader of the War of Liberation was the charismatic Amilcar Cabral, founder of PAIGCEN, a political party aiming to free Guinea and Cape Verde from the colonial power of the Portuguese government. Cabral pursued a low intensity warfare, which included armed struggles but also the construction of a new society with schools and bureaucratic systems. Guinea-Bissau and Cape Verde were declared independent in 1974.

Filipa César's extensive research is particularly focused on the position moving images hold in Guinea-Bissau and on how film has been used in propaganda and visual nation building. For the project Luta ca caba inda, César worked in close collaboration with a number of filmmakers in order to restore and make available the national film archive and its history.

Self presentationFilipa César is an artist and filmmaker interested in the porous relationship between the moving image and its public reception, the fictional aspects of the documentary genre, and the politics and poetics inherent to the production of moving images. Between 2008 and 2010, a great part of César's experimental films have focused on Portugal’s recent past, questioning mechanisms of history production and proposing spaces for performing subjective knowledge. Since 2011, César has been researching the origins of cinema in Guinea-Bissau and its geo-political radiance and developing that research into the project Luta ca caba inda. She is a participant of the research project “Visionary Archive, 2013-15,” organised by the Arsenal Institute, Berlin. Selected Film Festivals include Kurzfilmtage Oberhausen, 2013; Forum Expanded - Berlinale, 2013; IFFR, Rotterdam, 2010, 2013, and 2015; Indie Lisboa, 2010; DocLisboa, 2011. Selected exhibitions and screenings include 8th Istanbul Biennial, 2003; Serralves Museum, Porto, 2005; Tate Modern, London, 2007; SFMOMA, 2009; 29th São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010, Haus der Kulturen der Welt, Berlin, 2011; Jeu de Paume, Paris, 2012; Kunstwerke, Berlin, 2013; Festival Meeting Points 7, 2013-14; NBK, Berlin, 2014; Hordaland Art Center, Bergen, 2014; SAAVY Contemporary, Berlin 2015.

Goldin+Senneby - Standard Length of a Miracle

Wednesday 27.1–1.5 2016 Standard Length of a Miracle – A Mutating Retrospective of Goldin+Senneby. For the past 10 years the Stockholm-based artistic framework Goldin+Senneby has developed a unique practice exploring virtual worlds and offshore companies, strategies of withdrawal and subversive speculation. The artist subject acts as a managerial entity which proposes and sets in motion various systems of production.

Wednesday 27.1–1.5 2016 Standard Length of a Miracle – A Mutating Retrospective of Goldin+Senneby. For the past 10 years the Stockholm-based artistic framework Goldin+Senneby has developed a unique practice exploring virtual worlds and offshore companies, strategies of withdrawal and subversive speculation. The artist subject acts as a managerial entity which proposes and sets in motion various systems of production.

"Standard Length of a Miracle" is a retrospective that mutates: A protocol for a series of exhibitions which re-activate works in the present moment, and re-articulate them in relation to different institutions and cities.

The first mutation will take place at Tensta konsthall and various offsite locations in Stockholm, opening in January 2016. Among the locations are Handelshögskolan and Prins Eugens Waldemarsudde. A new production developed together with author Jonas Hassen Khemiri will be presented at Tensta konsthall. Subsequent mutations are planned in New York, Brisbane and Paris.

Art porch

Wed–Fri 1.7–31.7, 13:00–16:00 The porch at Tensta konsthall will this summer become a venue for young and old interested in art, crafts and handicrafts. Here you can embroider, tie friendship laces and lanyards, and learn more about recycled crafts and wire craft techniques. The workshop is open Wednesday-Friday all summer - rain or shine. Drop in. In collaboration with Hemslöjden (The Handicraft Organization) and the Swedish Lace Association.

Wed–Fri 1.7–31.7, 13:00–16:00 The porch at Tensta konsthall will this summer become a venue for young and old interested in art, crafts and handicrafts. Here you can embroider, tie friendship laces and lanyards, and learn more about recycled crafts and wire craft techniques. The workshop is open Wednesday-Friday all summer - rain or shine. Drop in. In collaboration with Hemslöjden (The Handicraft Organization) and the Swedish Lace Association.

Art and Literature walk in Tensta

Thursday 30.7, 15:00 Art and Literature walk in Tensta with Emily Fahlén and Tal LewinskyIn the Tensta subway, Helga Henschen conjures an image of the 70s using words like solidarity and sisterhood. When the poet Meron Mangasha makes a contemporary depiction of the same site, the metro's blue line becomes royal blood. On the adjacent Järvafältet the Taikon family once upon a time set up their camp in the childhood portrayal of the young Katitzi. Tensta emerges through a motley and interesting patchwork of literary and artistic narratives. Join us on an alternate walk through Tensta’s settlements, lookouts and public spaces. In collaboration with Tensta Library. The tour starts at Tensta konsthall.

Thursday 30.7, 15:00 Art and Literature walk in Tensta with Emily Fahlén and Tal LewinskyIn the Tensta subway, Helga Henschen conjures an image of the 70s using words like solidarity and sisterhood. When the poet Meron Mangasha makes a contemporary depiction of the same site, the metro's blue line becomes royal blood. On the adjacent Järvafältet the Taikon family once upon a time set up their camp in the childhood portrayal of the young Katitzi. Tensta emerges through a motley and interesting patchwork of literary and artistic narratives. Join us on an alternate walk through Tensta’s settlements, lookouts and public spaces. In collaboration with Tensta Library. The tour starts at Tensta konsthall.

City Walks Tensta Museum

Spring 2015 Tensta Museum: Reports from New Sweden is about history and memory in Tensta, both in relation to the place and to the people who live and work here. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches in the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the museum the area can now call its own is continuing. among other things, in the form of City walks.

Spring 2015 Tensta Museum: Reports from New Sweden is about history and memory in Tensta, both in relation to the place and to the people who live and work here. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches in the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the museum the area can now call its own is continuing. among other things, in the form of City walks. With support from ABF Stockholm.

Guided tour Spånga church. Spånga church is one of the oldest churches in the Stockholm area, containing original remnants from the 12th century and colourful medieval limestone paintings. The church has been rebuilt and enlarged over the centuries; for example, a burial chapel was added during the late 1600s by the powerful family Bonde.

During the same period, the reputable sculptor, Burchard Precht finished the famous altar consisting of a crucifix and two figures representing the Virgin Mary and the Apostle John. The church also contains a large collection of escutcheons. A visit to the steeple, which presumably also once functioned as a defense, gives a fine overview of the landscape. In collaboration with Spånga Church. The tour starts at Tensta konsthall.

Art and Literature walk in Tensta with Emily Fahlén and Tal LewinskyIn the Tensta subway, Helga Henschen conjures an image of the 70s using words like solidarity and sisterhood. When the poet Meron Mangasha makes a contemporary depiction of the same site, the metro's blue line becomes royal blood. On the adjacent Järvafältet the Taikon family once upon a time set up their camp in the childhood portrayal of the young Katitzi. Tensta emerges through a motley and interesting patchwork of literary and artistic narratives. Join us on an alternate walk through Tensta’s settlements, lookouts and public spaces. In collaboration with Tensta Library. The tour starts at Tensta konsthall.

I'm Every lesbian is a city tour in I-form, based on interviews with lesbians living in specific locations. In addition, the walk’s extensive material from the project is presented at Space, Tensta konsthall´s curatorial platform online. The tour presents parts of the site’s lesbian history, highlighting both official history—important meeting places, campaigns, groups, legislation, etc.—and personal stories about love and relationships in order to reflect how political and social movements affect the individual. The personal is political and the political is personal. lesbian history has been made invisible in both normative historical writing and LGBTQ history, where gay men's history has often occupied space at the expense of lesbians and transgender people. Carrying out the project in the form of a city tour is a way of letting lesbians claim space in a traditionally male arena; the public space. The tour starts at Tensta konsthall.

Walk in Tensta with archeologist Barbro ÅrhemThursday 9.4, 15:00

Walk in Tensta with archeologist Barbro Århem focusing on older history. Meet at Tensta konsthall. In collaboration with Stockholm City Museum.

Tensta is an unusually multi-faceted and complex place. Its most tangible feature is a large, late modernist housing area built in 1967–72 as part of the Million Programme. Nearly six thousand dwellings share space with iron-age graves, rune stones, one of the Stockholm region’s oldest churches from the 12th century, a famous baroque chapel, and a former military training area from the early 20th century which is now a protected nature reserve. In collaboration with Stockholm City Museum. The tour starts at Tensta konsthall.

The million program’s exteriors with architect Erik StenbergSaturday 18.4, 15:00

Walk in Tensta, with a focus on the million program’s exteriors. With the architect Erik Stenberg, who has been engaged in the practice and politics of restructuring the large scale modernist housing areas in Sweden for the last decade. He has lived in Tensta for twelve years and redesigned apartments there for today’s needs. In collaboration with KTH School of Architecture. The tour starts at Tensta konsthall.

Erik Stenberg, architect and Head of the Department of Architecture at KTH, has been engaged in the practice and politics of restructuring the large scale modernist housing areas in Sweden for the last decade. He has lived in Tensta (one of Sweden's largest modernist housing areas) for twelve years, redesigned apartments, organized a housing fair, started an introductory architecture school in Tensta and edited a catalogue of "Structural Systems of the Million Program Era". Further, he has lectured extensively, led design studios, organized lecture series and held seminars focusing on interventions and strategies for repurposing the housing stock. He is currently in the early stages of planning an exhibit at the Swedish Center for Architecture and Design in Stockholm concerning the contemporary fourfold set of forces pressuring the Swedish post war housing areas: maintenance/renovation, integration/segregation, energy/sustainability and preservation/history.

Tensta Underground station was opened in 1975 by the king. On the same occasion, the period art piece, made by Helga Henschen, was unveiled. Henschen wanted the art in the underground station to be a celebration of the residents of Tensta – hence the theme, “A rose to immigrants. Solidarity, sisterhood.” The walls of the station are filled with naïvistic images and quotes. Eighteen signs with the word “Sisterhood”, written in equally many languages are placed along the tracks. Henschen wanted there always to be pictures done by children in the sta- tion. Therefore from 2013 to 2016 photographs taken by students at the Ross Tensta Upper Secondary School will be on view in the station. In collaboration with Helga Henschen's Friends. The tour starts at Tensta konsthall.

I'm Every Lesbian

6.12 2014–17.6 2015 I’m Every Lesbian by Sofia Hultin, as part of Tensta Museum Continues. I'm Every Lesbian is a city tour in I-form, based on interviews with lesbians living in specific locations. In addition, the walk’s extensive material from the project is presented at Space, Tensta Konsthall´s curatorial platform online.

6.12 2014–17.6 2015 I’m Every Lesbian by Sofia Hultin, as part of Tensta Museum Continues. I'm Every Lesbian is a city tour in I-form, based on interviews with lesbians living in specific locations. In addition, the walk’s extensive material from the project is presented at Space, Tensta Konsthall´s curatorial platform online. The tour presents parts of the site’s lesbian history, highlighting both official history—important meeting places, campaigns, groups, legislation, etc.—and personal stories about love and relationships in order to reflect how political and social movements affect the individual. The personal is political and the political is personal. Lesbian history has been made invisible in both normative historical writing and LGBTQ history, where gay men's history has often occupied space at the expense of lesbians and transgender people. Carrying out the project in the form of a city tour is a way of letting lesbians claim space in a traditionally male arena; the public space.

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The project has previously been conducted in Tirana, Albania, in cooperation with the Albanian HBTQ organization Aleanca LGBT and The Unstraight Museum; in Belgrade, Serbia, in cooperation with the feminist festival BeFem with support from IASPIS; and in Norrköping, in partnership with Nevena Cvijetic and Norrköping Pride. During the summer of 2014, a Malmö version of the project was shown at Malmö Art Museum's exhibition En egen röst – kvinnors kamp för rösträtt och mänskligt utrymme, (Our Own Voice – Women's Struggle for Suffrage and Human Space) where the project was co-produced with Malmö’s Summerstage and the Rainbow Festival, Malmo Pride. For each site, a bilingual audio guide and map are produced, available at http://www.sofiahultin.com. In spring 2015, the project will be carried out in Minsk.

Self presentationI graduated from the Master's program in Art at the University College of Arts, Crafts and Design in Spring 2012 and have since continued to work with performance based on my interest in marginalized stories from a norm-critical perspective. Since 2009, I have also worked with the music and performance group Hägerstens Botaniska Trädgård with Johan Eriksson and Ingela Ihrman and together with them made several shows, guided tours and gala events consisting of stories, music and spectacular costume. During the summer of 2014, we will demonstrate an audio guide to Marabouparken in Stockholm. In September, I will collaborate with the project Lesbisk Makt (Lesbian Power), the curatorial collective Acéphale, and Svenskt visarkiv (Swedish Song Archive) and arrange a lesbian battle song night at Playan in Gothenburg. For the evening, I have invited lesbians who were mainly politically active during the ‘70s and ‘80s, like Lesbisk front (Lesbian front), but also younger and older generations. I have partially gotten hold of the text material during my work with I'm Every Lesbian and the documentation will consist of audio recordings which later will end up archived in Svenskt visarkiv under Music Development and Swedish Heritage. My work has been exhibited at, among others, Norrköping Art Museum, Konsthall C, Marabouparken, Kristinehamns Art Museum, Malmö Art Museum, and Gävle Art Centre.

LTTR Walkthrough with...

Saturday 6.6, 14:00 LTTR Walkthrough with Trifa Shakely and Matts Leiderstam. The exhibition Here We LTTR: 2002-2008 includes the group's five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research, will guide a series of walk-throughs in the exhibition.

Saturday 6.6, 14:00 LTTR Walkthrough with Trifa Shakely and Matts Leiderstam. The exhibition Here We LTTR: 2002-2008 includes the group's five issues of the journal as well as photographs and other documentation of LTTR’s social energy. Local and international guests connected to LTTR and to queer art, activism, and research, will guide a series of walk-throughs in the exhibition.

Trifa Shakely (Gothenburg) is a writer and lecturer with degrees in law and social work. She has previously been the editor of the feminist magazine Bang and is currently working with issues concerning domestic violence. Shakely initiated Ain't I a Woman, a campaign for the rights of undocumented migrant women.

Artist Matts Leiderstam (Stockholm) has a particular interest in the art museum as a site, the gaze, and the viewer. In several of his research-based projects, such as Grand Tour 1997-2007, Leiderstam copied and paraphrased existing works in order to suggest alternative interpretations. Through his installations, including paintings, books, and different objects such as magnifying glasses and binoculars, Leiderstam evokes hidden desires and queer leakages from Western art history.

LTTR is a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in an annual journal, performance events, and video programs, among other things. LTTR catalyzed a vibrant queer community in formation through collaboration, organizing, explicit discourse, journal making, and distribution. The journal, half work of art, half political event, took on a new guise for each issue, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers. LTTR constantly created new dialogues and challenged given forms, including their own. The acronym LTTR was in constant motion and was to be read in a multitude of ways, including Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read, and Lacan Teaches To Repeat.

In the Spring of 2014, the four editors of LTTR’s fifth issue, Emily Roysdon, Ginger Brooks Takahashi, K8 Hardy, and Ulrike Müller gathered around the archive. The groundbreaking and playfully rigorous work of LTTR will now be exhibited for the first time and activated at Tensta konsthall.